Disc #'s in parentheses ( ) do not appear on records, but are from EDISON DISC RECORDINGS, compiled by Raymond R. Wile. First date in ( ) is coupling date; second date is supplement date (first monthly listing), from EDISON DISC RECORDINGS by Raymond R. Wile
Side: R=Right, primary selection; L=Left, secondary selection
Date Recorded from TRUESOUND ONLINE DISCOGRAPHY PROJECT and original artist cards (organ records)
| Side | Matrix # | Date Recorded | Title, (Composer), Performer |
| R | 1061-B-4-30 | 1912.05.3 | "Moonlight in Jungleland" (Dempsey & Schmid, composers) Coon duet - Orchestra Accompaniment [Arthur Collins, Baritone; Byron G. Harlan, Tenor] [WORDS] |
| L |
3028-C-2-12 | 1914.05. | "Below the Mason-Dixon Line" (Dave [Alfred] Reed, Composer) Coon Song - Orchestra Accompaniment [Arthur Collins, Baritone] [WORDS] |
| R | 3812-C-2-18 | 1915.05. | Apple Blossoms (Kathleen A. Roberts) American Symphony Orchestra |
| L |
2789-C-2-26 | 1914.01/02 | “Flower Song” (G. Lange, Composer) Flute, violin, 'cello and harp [Venetian Instrumental Quartet] |
| R | 4565-B-4-1 | 1916.03.06/9 | Broken Heart (Ernest Gillet) String Quintet with Harp [Venetian Instrumental Quartet] |
| L |
4130-A-5-14 | 1915.09. | Largo (G. F. Handel) American Symphony Orchestra |
| 50053-R BROKEN HEART - Ernest Gillet - STRING ORCHESTRA Ernest Gillet, the popular French composer, was born at Paris, September 13th, 1856. He became a pupil of the famous Niedermeyer School and the Paris Conservatoire. Later he took the position of solo 'cellist at the Grand Opera, and more recently still has taken up his residence in London. His music is mostly for the piano, being in that light vein with few technical difficulties, styled salon music, doubtless because of its popularity among amateur performers. Gillet's most famous piece is called "Loin du bal" ("Sounds from the ballroom"), whose dainty tripping little melody is known to most every music lover. "Broken Heart," although not so widely known, is very popular, and gains in interest when arranged for string orchestra rather than piano solo as it was originally written. |
50053-L LARGO - Händel - STRING ORCHESTRA This "Largo" was originally written as an air in one of Handel's Italian operas, "Serse" or "Xerxes," which was produced in 1738. That the full greatness of a man is only revealed when misfortune overtakes him was demonstrated by the great master at this time, one of the saddest periods of his life, when, in order to redeem his word of honor and save himself from a debtor's prison, he worked with immoderate energy to produce this work. The opera as a whole, like all of Handel's earlier efforts, is quite dead, but this air deservedly enjoys a perennial popularity. It is a very simple melody, but nevertheless composed with a fine sense for effect, as for example in the climax, when the theme rises higher and higher by successive changes of most beautiful harmony. |
| R | 2641-C-6-1 | 1913.12.18 | "Memories of Home" (Fr. Gutmann, Composer) Violin, 'cello, flute and harp [Venetian Instrumental Quartet] |
| L |
2791-C-2-9 | 1914.01/02 | "Dear Heart" (Tito Mattei, Composer) Violin, flute and harp [Venetian Instrumental Trio] |
| 50061-R DEAR HEART - Tito Mattei - VIOLIN, FLUTE AND HARP TITO MATTEI was born at Campobasso, near Naples, Italy, in 1841. He studied the piano when a boy under such eminent teachers as Maggoni, Parisi, Ruta, Conti, and Thalberg. So remarkable was his early progress that at the age of eleven years he was created "Professor" of the Accad. di Santa Cecilia, Rome; received a special gold medal for playing before Pope Pius IX, and was appointed pianist to the King of Italy. After many continental tours he settled in London about 1865, becoming conductor at Her Majesty's Theatre. His works include the grand opera, "Maria di Gand" produced at Her Majesty's Theatre, London, in 1880; the comic opera "La Prima Donna" (1889), and the ballet "The Spider and the Fly" (1893), all of which productions were highly successful. Mattei has also written a large quantity of pianoforte music, very brilliant in style, and many songs. "Dear Heart" is here given in an arrangement for violin, flute and harp, made especially by Mr. Ecke (one of the Directors of the Edison Phonograph), for this Record. The piece is one of Mattei's finest and best known songs. Its melody, however, apart from the words, is very beautiful, and in the trio arrangement, gains added charm. |
50061-L MEMORIES OF HOME - Friedrich Gutmann - VIOLIN, VIOLONCELLO, FLUTE AND HARP Friedrich Gutmann, a German composer of considerable note, has written nothing more charming or interesting than this reverie "Memories of Home." It was first published some years ago abroad, and became immensely popular throughout Europe. It was soon after published in America, where it is now no less a favorite. Gutmann's music, of which he has written a great quantity, including both sacred and secular songs, many duets, trios, etc., instrumental numbers for orchestra, and much pianoforte music, is generally facile, both in construction and in technical difficulties of performance. For both of these reasons, added to the tunefulness of most of his pieces, they have become general favorites among amateur players. A majority of the composer's compositions are for the piano, and "Memories of Home" was originally so written. It is doubtful if any other four instruments have tone qualities that blend so beautifully as the violin, violoncello, flute and harp. "Memories of Home," with its interesting interweaving of themes by the three solo instruments, and by the beautiful limpid accompaniment for the harp, forms a most delightful addition to light chamber music. |
| R | 1256-B-1-9 | 1912.09.13/8 | Wedding of the Winds Waltzes (John T. Hall) American Symphony Orchestra |
| L |
2861-B-2-1 | 1914.03. | On the High Alps (Ludwig Andre) Violin, Violoncello, Flute and Harp - Venetian Instrumental Quartet |
| R | 2250-C-3-9 | 1913.04.24 | Fidelity Two-Step (F. H. Losey) National Promenade Band |
| L |
2243-C-2-5 | 1913.04.21 | Orpheus Overture (J. Offenbach) American Symphony Orchestra |
| R | 2362-A-38 | 1913.07.07 | I Love The Name Of Mary (Olcott and Ball) Tenor and chorus [Walter Van Brunt] Orchestra Accompaniment [WORDS] |
| L |
2415-A-39 | 1913.08.19 | The Trail of The Lonesome Pine (Harry Carroll) Tenor and chorus [Walter Van Brunt] Orchestra Accompaniment [WORDS] |
| R | 2272-B-8-5 | 1913.05.07 | "Charme d'Amour-Valse Lente" (Edwin F. Kendall) Brass and String Orchestra [American Symphony Orchestra] |
| L |
2357-C-1-19 | 1913.07.02 | "The Red Man" "Dwellers in the Western World"[-1] (John Philip Sousa) Brass Orchestra [Edison Concert Band] |
| R | 2071-C-3-81 | 1912.12.30 | "Rose-Mousse" (Entr' Acte Valse) (Auguste Bosc) String Orchestra [American Symphony Orchestra] |
| L | 2358-C-1-60 | 1913.07.02 | "The Black Man" "Dwellers in the Western World"[-3] (John Philip Sousa) Brass Orchestra [Edison Concert Band] |
| R | 2097-C-17 | 1913.01.16 | The Broken Melody (Auguste van Biene) Violoncello with Orchestra - Leo Taussig |
| L | 2165-C-25 | 1913.03.03/5 | Dream of the Tyrolienne (Aug. Labitzky) Violin, Cello, Flute, Harp - Venetian Instrumental Quartet |
| R | 2093-B-1-68 | 1913.01.14 | Oh Promise Me (Reginald de Koven) Fluegelhorn Solo - Orchestra Accompaniment [Anton Weiss] |
| L | 2062-C-9-87 | 1912.12.20 | Ben Bolt—Fantasia (Nelson Kneass) Violin Solo - Orchestra Accompaniment [Gregor Skolnik] |
| R | 2450-C-2-3 | 1913.09.11 | Valse Fantastique (Engelmann) Brass and String Orchestra [American Symphony Orchestra] |
| L | 2285-C-2-3 | 1913.05.13 | Dream of Autumn Serenade (F. H. Losey) String Orchestra [American Symphony Orchestra] |
| R | 2295-C-1-1 | 1913.05.19 | Feast Of The Flowers - Valse Caprise (F. H. Losey) American Symphony Orchestra |
| L | 2366-C-3-6 | 1913.07.09 | Au Revoir--Romantic Melody (Sydney Smith) American Symphony Orchestra |
| R | 2169-C-1-4 | 1913.03.05 | (a) Romanza Expresiva (Schubert) (b) Historias Y Cuentos - Jota (Rubio) American Symphony Orchestra |
| L | 2446-C-5-2 | 1913.09.09 | Entr' Acte - Chimes Of Normandy (Robert Planquette) American Symphony Orchestra |
| R | 2485-A-1-6 [2-1] | 1913.10.08 | American Patrol (F. W. Meacham) New York Military Band |
| L | 2593-B-5-3 | 1913.11.26 | Boston Commandery March (T. M. Carter) New York Military Band |
| R | 2066-C-2-4 | 1912.12.24 | Flanagan and His Motor Car (Vaudeville Specialty with Orchestra) Steve Porter [WORDS] |
| L | 2900-A-2-1 | 1914.03. | When Uncle Joe Plays A Rag On His Old Banjo (Theodore Morse) Coon Song with Orchestra - Robert Lett [WORDS] |
| R | 2531-F-2-5 | 1913.10.31 | Don Juan Overture (Mozart) Edison Concert Band |
| L | 2532-A-1-1 | 1913.10.31 | The Turkish Patrol (Theo. Michaelis) Brass Orchestra [New York Military Band] |
| R | 3035-C-2-2 | 1914.05. | America [attributed to Henry Carey and Samuel Francis Smith] New York Military Band |
| L | 3069-C-1-5 | 1914.05/06 | (a) Hail Columbia [Fyles and J. Hopkinson] (b) The Star Spangled Banner [John S. Smith and Francis Scott Key] New York Military Band |
| R | 3070-B-3 | 1914.05/06 | The Jolly Coppersmith March (Descriptive) (C. C. Peter) Band [New York Military Band] [WORDS] |
| L | 3074-B-11-3 | 1914.05/06 | The Guardmount Patrol (R. Eilenberg) Band [New York Military Band] |
| R | 3271-C-3-22 | 1914.09. | God Save the King – Band and Mixed Quartet [New York Military Band] [WORDS] |
| L | 3305-C-4-24 | 1914.09. | Rule Britannia (Arne) Band, Baritone and Chorus [New York Military Band, Albert Farrington] [WORDS] |
| R | 3272-C-2-4 | 1914.09. | Die Wacht am Rhein [M. Carl Wilhelm - Max Schneckenburger] Band [New York Military Band] |
| L | 3319-C-7 | 1914.09.26/30 | (a) Die Wacht am Rhein [M. Carl Wilhelm - Max Schneckenburger] (b) Deutschland über Alles [(Joseph Haydn - Heinrich Hoffmann von Fallersleben] (In German) Male Quartet Unaccompanied [Manhattan Quartet] [WORDS] |
| 50187-R DIE WACHT AM RHEIN BAND The poem of "Die Wacht am Rhein" was written by a German manufacturer named Schneckenburger, in 1840, when the left bank of the Rhine was threatened by France. The melody, as we know it to-day, was composed by Carl Wilhelm. It was arranged by him as a part-song for men's voices, and was first sung on June 11th, 1854. In 1871 Wilhelm received a pension from the Emperor, because of the popularity of his work. Wilhelm died in Schmalkalden, and a monument is erected there in his honor. The great German National Anthem is given a notable presentation on this record in a band arrangement that is particularly stirring. |
No. 50187-L (a) DIE WACHT AM RHEIN (b) DEUTSCHLAND ÜBER ALLES - MANHATTAN QUARTET On this side of the record is given two of the leading patriotic songs of Germany in a pulse-stirring rendition, in German, by the Manhattan Quartet of male voices. Everyone--not only Germans--must be familiar with "The Watch on the Rhine." "Germany Over All" also hardly needs introduction, for it is one of the foremost songs in the affections of every German. Male voices rightly seem best suited to render patriotic music, and the singing of the Manhattan Quartet could hardly be surpassed. Altogether this is a record that will inspire every true lover of the "Fatherland," as well as proving enjoyable to the people of other nations. |
| R | 3389-C-3-3 | 1914.10.2 | Panama Exposition Overture (Frosini) Accordion Solo [Pietro J.] Frosini |
| L | 3390-A-5-3 | 1914.10.2 | Italian Fantasia (Frosini) Accordion Solo - [Pietro J.] Frosini |
| R | 3400-B-9 | 1914.10.31 | Thru the Park March (Frosini) Accordion Solo - Unaccompanied [Pietro J. Frosini] |
| L | 3401-C-3-9 | 1914.10.31 | Echoes from the Movies (Frosini) Accordion Solo - Unaccompanied [Pietro J. Frosini] |
| R | 3398-A-3-2 | 1914.10.2 | The Skating Trot--One-Step (Leonardo Stagliano) National Promenade Band |
| L | 3458-B-1-4 | 1914.11/12 | Operatic Rag (Julius Lenzberg) Sodero's Band |
| R | 3523-B-2-6 | 1915.01.18 | Tip-Top Tipperary Mary (Harry Carroll) Baritone and chorus [Royal Fish, tenor; Billy Murray, tenor; John Young, tenor; Steve Porter, baritone; and William Hooley, bass] with orchestra - Joseph A. Phillips [WORDS] |
| L | 3524-B-1-6 | 1915.01.18 | The Little Ford Rambled Right Along (Byron Gay) Tenor with orchestra - Billy Murray [WORDS] |
| 50227-R TIP-TOP TIPPERARY MARY - Harry Carroll BARITONE - JOSEPH A. PHILLIPS AND CHORUS Probably the most popular young lady in the world of song to-day is "Tipperary Mary," the heroine of the great marching song of the English Army, "It's a Long, Long Way to Tipperary." This song about her is by Harry Carroll and Ballard MacDonald, writers of the famous "Trail of the Lonesome Pine" and "It Takes a Little Rain with the Sunshine." Although those songs (especially the former) surpassed all popularity records, "Tipperary Mary" seems quite ready to equal them in public favor. The presentation of this number is especially good, and it makes a record that every Edison owner is bound to enjoy. The refrain you will find is of a highly whistleable character--the kind of tune you can't get away from. |
50227-L THE LITTLE FORD RAMBLED RIGHT ALONG - Byron Gay TENOR - BILLY MURRAY Whether you are the proud owner of a Ford auto, or just an ordinary mortal, you will be convulsed at Billy Murray's rendering of this nonsense ditty, which, by the way, is Henry Ford's favorite song. The tune is undeniably catchy, but the main interest of course lies in the clever words, telling of the "little old Ford" that "rambled right along" no matter what happened. The Ford Company are perhaps not quite prepared to back up the various statements this lyric makes as to the extraordinary adaptability of their car, but we do not doubt that in a general way they heartily endorse the ideas expressed. No one could be better than Billy Murray at this sort of thing, and the record is one that of its kind will probably never be surpassed. |
| R | 3493-B-2-5 [6-1] | 1915.01.02 | Mother's Prayers Have Followed Me (B. D. Ackley) Baritone and Chorus, with Organ - Homer Rodeheaver [WORDS] |
| L | 3494-A-3-4 | 1915.01.02 | My Father Watches Over Me (Chas. H. Gabriel) Baritone and Chorus, with Organ - Homer Rodeheaver [WORDS] |
| R | 3726-C-2-117 | 1915.04. | The Stars and Stripes Forever March (J. P. Sousa) Sodero's Band |
| L | 3378-C-6-164 | 1914.10.2 | Evening Chimes in the Mountains (Franz Behr) Band [Edison Concert Band] |
| R | 3833-B-2-2 | 1915.05. | War Talk At Pun’kin Center (Cal Stewart) (A Rural Sketch) Cal Stewart[WORDS] |
| L | 3830-A-2-1 | 1915.05. | Uncle Josh’s Huskin Bee (Cal Stewart) (Farm Scene) Cal Stewart and Co.[WORDS] |
| R | 3782-C-4-9 | 1915.05. | Town Topics of Pun'kin Center--A Rural Sketch (Cal Stewart) [WORDS] |
| L | 3767-C-3-23 | 1915.05. | Uncle Josh Buys an Automobile--A Rural Monologue (Cal Stewart) [WORDS] |
| R | 3776-C-6-44 | 1915.05. | Uncle Josh Keeps House--A Rural Monologue (Cal Stewart) [WORDS] |
| L | 3766-A-3-28 | 1915.05. | Uncle Josh in a Barber Shop--A Rural Monologue (Cal Stewart) [WORDS] |
| R | 3857-C-72xx | 1915.06. | Moonlight on the Lake (C. A. White) Male Voices with Orchestra - Knickerbocker Quartet [WORDS] |
| L | 3734-C-130 | 1915.04. | The Old Oaken Bucket - Male Voices with Orchestra - Knickerbocker Quartet [WORDS] |
| R | 5313-C-3-85 | 1917.01.18/24 | A Perfect Day Waltz (Carrie Jacobs-Bond) Jaudas' Society Orchestra (For Dancing) |
| L | 4749-C-9-1 | 1916.05.25/31 | Sunset on the St. Lawrence Waltz (M. Heller) Jaudas' Society Orchestra (For Dancing) |
| R | 4017-B-2-2 [1-1] | 1915.07.26/9 | Asleep In The Deep (Petrie-Lamb) (Bass and Male Chorus with Orchestra) William Myers [WORDS] |
| L | 4086-B-5-1 [1-1] | 1915.09.01/3 | The Blue Jay And The Thrush (Joe Belmont) (Singing and Whistling with Orchestra) Harlan and Belmont [WORDS] |
| R | 4137-B-1-2 | 1915.09. | O Little Town Of Bethlehem (L. H. Redner) Mixed Voices with Orchestra - The Carol Singers [WORDS] |
| L | 4144-A-6-5 | 1915.09. | Once In Royal David's City (H. J. Gauntlett) Mixed Voices with Orchestra - The Carol Singers [WORDS] |
| R | 4142-C-3-46 | 1915.09. | Adeste Fideles (J. Reading) Introducing Chimes, Bells, and Male Chorus - Sodero's Band [WORDS] |
| L | 4143-C-4-63 | 1915.09. | Hallelujah Chorus—Messiah (Handel) Sodero's Band |
| R | 4174-B-4-2 | 1915.10. | Amina - Egyptian Serenade (Paul Lincke) Sodero's Band |
| L | 4216-B-3-1 | 1915.10.21/31 | Ciribiribin (A. Pestalozza) Sodero's Band |
| R | 4292-C-36 | 1915.11. | Praise Ye--Grand Trio - Attila (Verdi) (Cornet, Trombone and Euphonium Trio) Sodero's Band |
| L | 4120-A-22 | 1915.09. | Coronation March--Le Prophète (Meyerbeer) Sodero's Band |
| R | 4329-B-2-9 | 1915.12. | There's a Long, Long Trail (Zo Elliott) Tenor and Chorus with Orchestra - George Wilton Ballard [WORDS] |
| L | 4414-A-18-14 | 1916.01. | My Mother's Rosary (George W. Meyer) Tenor with orchestra - Walter Van Brunt [WORDS] |
| R | 4449-C-2-9 | 1916.01. | The Memphis Blues--Fox Trot (W. C. Handy) National Promenade Band (For Dancing) |
| L | 4381-C-3-35 | 915.12.29/31 | Merry Whirl--One-Step (Julius Lenzberg) Vess L. Ossman's Banjo Orchestra (For Dancing) |
| R | 4578-A-1-18 | 1916.03.1 | Setting the Pace--One-Step (Chester W. Smith) Jaudas' Society Orchestra (For Dancing) |
| L | 4592-A-1-17 | 1916.03.1 | Kangaroo Hop--Fox Trot (Morris) (Xylophone with orchestra) Lou Chiha "Frisco" (For Dancing) |
| R | 4671-C-6-1 | 1916.04.18/21 | American Fantasie (Victor Herbert) New York Military Band |
| L | 4582-A-4-2 | 1916.03.1 | National Emblem March (E. E. Bagley) New York Military Band |
| R | 4325-B-1-1 [1-2] | 1915.12. | Spanish Rhapsody (S. Salvetti) Alessios Mandolin Quartet |
| L | 4326-A-2-3 | 1915.12. | Hungarian Serenade (G. Sgallari) Alessios Mandolin Quartet |
| R | 4775-A-1-9 | 1916.06.06/14 | On the Beach Medley Waikiki Hawaiian Orchestra |
| L | 4601-B-1-8 | 1916.03.20/3 | Medley of Hawaiian Airs--No. 2 Louise and Ferera (Hawaiian Guitar) |
| R | 4834-C-7-35 | 1916.06.29/30 | You're a Dangerous Girl (Monaco) Contralto and baritone with orchestra - Helen Clark and Joseph A. Phillips [WORDS] |
| L | 4791-C-7-21 | 1916.06.14/9 | Dublin Mary Brown (May Hill) Tenor and chorus with orchestra - Irving Kaufman [WORDS] |
| R | 4960-A-6-3 | 1916.08. | Joy To The World (“Tune Antioch”) Mixed Voices with Orchestra – The Carol Singers [WORDS] |
| L | 4963-C-2-9 | 1916.08. | The First Nowell (Traditional) Mixed Voices with Orchestra – The Carol Singers [WORDS] |
| R | 4923-A-2-102 | 1916.08. | Santa Claus Song [Charles T. Ellis] (With Yodle) Yodler with orchestra - George P. Watson [WORDS] |
| L | 4924-A-4-110 | 1916.08. | Du, Du [Liegst Mir Im Herzen] and Doctor Eisenbart (With Yodles) Yodler with orchestra - In German - George P. Watson [WORDS] |
| R | 4931-C-3-79 | 1916.08.18 | Listen To This--One Step (Mel B. Kaufman) Jaudas' Society Orchestra (For Dancing) |
| L | 4930-C-5-65 | 1916.08.18 | Ole Virginny--One Step (J. S. Zamecnik) Jaudas' Society Orchestra (For Dancing) |
| R | 4927-B-5 | 1916.08.17 | Smiles, Then Kisses—Waltz (Charles W. Ancliffe) Waikiki Hawaiian Orchestra |
| L | 4600-A-1-3 | 1916.03.22 | Hapa Haole Hula Girl (Sonny Cunha) (Hawaiian Guitar) Louise and Ferera |
| R | 5259-A-4-4 | 1917.01.01/8 | American Eagle March (J. G. Boehme) New York Military Band |
| L | 5258-A-2-5 | 1917.01.01/8 | The New Colonial March (R. B. Ball) New York Military Band |
| R | 4875-B-1-1 | 1916.07. | Daddy and the Boy (J. L. Harbour) A Bed-Time Story – Edna Bailey |
| L | 4366-B-1-1 | 1915.12. | The Little Boy And His Mother At The Circus – Recitation – Edna Bailey |
| R | 5172-C-4-11 | 1916.11.22 | Mo-Ana--Hawaiian Waltz (Harry B. Olsen) Jaudas' Society Orchestra (For Dancing) |
| L | 5194-C-3-13 | 916.12.04/7 | Flora Bella--One Step (Milton E. Schwarzwald) Jaudas' Society Orchestra (For Dancing) |
| R | 4983-B-4-3 | 1916.09.01/9 | The Whistler And His Dog (Arthur Pryor) New York Military Band |
| L | 4917-B-3-2 | 1916.07.27/8 | Simplicity--Intermezzo (Dorothy Lee) Sodero's Band |
| R | 5306-H-8-37 | 1917.01.p | Poor Butterfly--Fox Trot (Raymond Hubbell) Jaudas' Band (For Dancing) |
| L | 4704-C-9-127 | 1916.05.03/11 | The Missouri Waltz (Logan & Eppel) Jaudas' Society Orchestra (For Dancing) |
| R | 5514-C-3-44 | 1917.04. | America, Here's My Boy (Arthur Lange) Tenor and Chorus with orchestra - George Wilton Ballard [SKIPS] [WORDS] |
| L | 5521-C-5-25XX | 1917.04. | Where Do We Go From Here? (Howard Johnson-Percy Wenrich) Baritone with orchestra - Arthur Fields [SKIPS] [WORDS] |
| R | 5325-C-6-5 | 1917.01.26 | You Said Something--Have a Heart (Jerome Kern) Soprano and tenor with orchestra - Rachael Grant And Billy Murray [WORDS] |
| L | 5357-C-3-6 | 1917.02.09/15 | I'd Be Happy Anywhere With You--Her Soldier Boy (Sigmund Romberg) Soprano and tenor with orchestra - Bettina Bergere And George Wilton Ballard [WORDS] |
| 50435-R YOU SAID SOMETHING--HAVE A HEART - Jerome Kern SOPRANO AND TENOR - RACHAEL GRANT AND BILLY MURRAY The press representative of "Have a Heart," Miss Beulah Livingstone, describes its story as follows: "The merry musical story of "Have a Heart" is attuned to the heart throbs of a honeymooning couple who decide to get a divorce, all on account of 'hubby's' sympathy for the 'poor working girl.' After an unexpected meeting in the lingerie room of 'hubby's' store, they make amends, fondly embrace each other and, with the aid of the elevator boy, they encore the honeymoon in the same palatial seaside hotel." "You Said Something" is one of the biggest hits of the show--as charming a little song, in fact, as Broadway has heard for many seasons. |
50435-L I'D BE HAPPY ANYWHERE WITH YOU--HER SOLDIER BOY - Sigmund Romberg SOPRANO AND TENOR - BETTINA BERGERE AND GEORGE WILTON BALLARD The musical comedy "Her Soldier Boy" was well-received in New York. It featured Clifton Crawford and Adele Rowland, both favorites with the New York public. Among the several musical numbers that became popular the song given on this record was prominent. It is a tuneful little duet and makes a thoroughly charming record. George Wilton Ballard is well known to the Edison public; he has made many fine popular-song and musical comedy records. Bettina Bergere is a new comer among Edison artists, but, judging by this sample of her work, she is likely to make a hit. |
| R | 5380-C-5-50 | 1917.02.20 | Home Again One-Step--Her Soldier Boy (Sigmund Romberg) Jaudas' Band |
| L | 5382-C-3-24 | 1917.02.20 | Havanola (Have Another)--Fox Trot (Hugo Frey) Jaudas' Band |
| R | 5687-C-3-64x | 1917.07.16/7 | Goodbye Broadway, Hello France! (Billy Baskette) Baritone and chorus with orchestra – Arthur Fields [WORDS] |
| L | 5659-C-5-104 | 1917.07. | Over There (George M. Cohan) Tenor and chorus with orchestra – Billy Murray [WORDS] |
| R | 5672-C-1-5 | 1917.07.05/16 | We Three Kings Of Orient Are (Old Christmas Carol) Mixed Voices with Orchestra - The Carol Singers [WORDS] |
| L | 5677-B-1-5 | 1917.07.05/16 | God Rest You Merry, Gentlemen (Old Christmas Carol) Mixed Voices with Orchestra - The Carol Singers [WORDS] |
| R | 5727-B-2-36 | 1917.08 | Christmas Memories (A Fantasie on well-known Christmas Hymns) Celesta solo - Robert Gayler |
| L | 5714-C-2-73 | 1917.07.25/31 | The Birthday Of A King (W. H. Neidlinger) Cornet with orchestra - Pietro Capodiferro |
| R | 5840-C-8-2 | 1917.10.08 | Hail! Hail! The Gang's All Here! (Theo. Morse-Arthur Sullivan) Male voices with orchestra - Shannon Quartet [WORDS] |
| L | 5848-C-7-24 | 1917.10. | So Long, Mother (Egbert Van Alstyne) Tenor and male chorus with orchestra - George Wilton Ballard [WORDS] |
| R | 5215-C-4-94xx | 1916.12.13/9 | Mammy's Little Coal Black Rose (Richard A. Whiting) (Tenor with orchestra) Manuel Romain [WORDS] |
| L | 5698-A-2-1 | 1917.07.17/20 | If You Had All the World And Its Gold (Albert Piantadosi) (Tenor with orchestra) Manuel Romain [WORDS] |
| R | 5723-C-2-8 | 1917.08.02 | Umbrellas To Mend--One-Step (Mel B. Kaufman) Frisco "Jass" Band [WORDS] |
| L | 5553-C-2-33 | 1917.05.10 | Johnson "Jass" Blues--Fox Trot (E. Arnold Johnson) Frisco "Jass" Band |
| R | 5563-C-4-54 | 1917.05. | A Wee Deoch And Doris (Gerald Grafton-Harry Lauder) Scotch song with orchestra – Glen Ellison [WORDS] |
| L | 4694-C-8-20 | 1916.04.25/30 | Doughie the Baker (It’s Nicer When You Make it Up Again) (Lauder) Scotch song with orchestra – Glen Ellison[WORDS] |
| R | 6033-C-3-124 | 1918.02. | The Nation's Awakening March (Lucien Denni) New York Military Band |
| L | 6113-C-5-208 | 1918.04. | The Volunteers March (Sousa) New York Military Band |
| R | 6054-A-10-124 | 1918.03.07 | K-K-K-Katy (Geoffrey O'Hara) (Tenor and chorus [John Young, tenor; Steve Porter, baritone; Donald Chalmers, bass; assisted by Ada Jones] with orchestra) Billy Murray [WORDS] |
| L | 6072-C-7-184 | 1918.03.21 | A Submarine Attack (Theo. Morse) Premier Quartet and Company [Donald Chalmers, Helen Clark, Edward Meeker, Billy Murray, Steve Porter, and John Young] [WORDS] |
| R | 6205-A-5-75 | 1918.06.05/7 | General Pershing March (Carl D. Vandersloot) Imperial Marimba Band |
| L | 6153-A-16 | 1918.05.01/8 | The Prettiest Little Song Of All (Belasco) (Bells with orchestra) John F. Burckhardt |
| R | 6152-B-3-8 | 1918.05.01/7 | We'll Do Our Share (While You're Over There) (Jack Egan) Mixed voices with orchestra - The Harmony Four [WORDS] |
| L | 6157-C-3-37 | 1918.05.01/7 | Bring Me A Letter From My Old Home Town (Will R. Anderson) Tenor with orchestra - Reese Jones [WORDS] |
| R | 6122-C-5-21 | 1918.04. | Irish Washerwoman-Medley of Jigs - Violin Solo - Harold Veo - Pianoforte by John F. Burckhardt |
| L | 5775-C-5-160 | 1917.09. | Medley of Irish Reels - Accordion Solo - Patrick J. Scanlon - Piano accompaniment by Dennis L. Smith |
| R | 6461-A-8-137 | 1918.11.12/2 | It's Never Too Late To Be Sorry (Jos. A. Burke) Tenor with orchestra - Manuel Romain [WORDS] |
| L | 6414-B-18-138 | 1918.10.10/23 | A Little Birch Canoe And You (Lee S. Roberts) Tenor with orchestra - Manuel Romain [WORDS] |
| R | 6435-C-9-54 | 1918.10.29 | Out of the East--Oriental Fox Trot (Joe Rosey) Jaudas' Society Orchestra |
| L | 6160-C-3-51 | 1918.05.07 | Charming Waltz (Archibald Joyce) Jaudas' Society Orchestra |
| R | 6292-B-2-10 | 1918.07. | Sabre and Spurs March (John Philip Sousa) New York Military Band |
| L | 6427-C-8-40 | 1918.10.23/8 | Le Régiment de Sambre-et-Meuse (French National Défilé March) (Robert Planquette) New York Military Band |
| R | 6211-A-5-101 | 1918.06.07/13 | Clover Club (A "Fox Trot" Classic) Imperial Marimba Band |
| L | 6212-C-2-93 | 1918.06.07/13 | Nona Waltz (F. W. Vandersloot) Imperial Marimba Band |
| R | 6540-A-2-91 | 1919.01.02 | Let Us Not Forget - A Message To The American People by Thomas A. Edison [Announcement by male speaker] [WORDS] |
| L | 6509-C-3-21 | 1918.12.16/23 | National Airs of the Allies - New York Military Band |
| R | 6502-C-6-142 | 1918.12.12 | This Is The Time--One Step - The Canary (Clifton Crawford) Jaudas' Society Orchestra |
| L | 6503-C-15-105 | 1918.12.12 | Take A Chance--Fox Trot - The Canary (Jerome Kern) Jaudas' Society Orchestra |
| R | 6389-A-3-5 | 1918.10.01/2 | Snow Deer (Percy Wenrich) (Soprano and tenor with orchestra) Ada Jones and Billy Murray [WORDS] |
| L | 5990-C-6-9 | 1918.01.25/31 | Silver Bell (Percy Wenrich) (Soprano and tenor with orchestra) Gladys Rice and Vernon Dalhart [WORDS] |
| R | 6542-C-9-43 | 1919.01.02 | Oh Helen! (McCarron-Morgan) Baritone and chorus with orchestra - Arthur Fields [WORDS] |
| L | 6591-C-9-48 | 1919.01. | How 'Ya Gonna Keep 'Em Down On the Farm After They've Seen Paree? (Walter Donaldson) Tenor with orchestra - Byron G. Harlan [WORDS] |
| R | 6545-C-17-104 | 1919.01.03 | The St. Louis Blues - Fox Trot (W. C. Handy) Saxophone, Xylophone and Piano) The All Star Trio |
| L | 6541-C-8-63 | 1919.01.02 | Jazzie-Addie--One Step (Adrian Schubert) Jazzarimba Orchestra |
| R | 6647-C-115 | 1919.03.04 | Anything Is Nice If It Comes From Dixieland (Clarke-Meyer-Ager) (Male voices with orchestra) Premier Quartet [Billy Murray, tenor; John Young, tenor; Steve Porter, baritone; and Donald Chalmers, bass] [WORDS] |
| L | 6630-C-48 | 1919.02.13/24 | Have A Smile For Everyone You Meet And They Will Have A Smile For You (Bert Rule) (Tenor and male voices with orchestra) Arthur Hall [WORDS] |
| R | 6293-C-5-6 | 1918.07. | Sliding Sid (Abe Losch) New York Military Band |
| L | 6595-B-9-73 | 1919.01. | The Boy and the Birds (Characteristic) (Fred Hager) New York Military Band |
| R | 6688-C-125 | 1919.03.27 | Tears--Fox Trot (S. R. Henry) Tuxedo Dance Orchestra [uncredited vocal chorus] [WORDS] |
| L | 6680-C-99 | 1919.03.20 | Mary--Fox Trot (Hugo Frey) Tuxedo Dance Orchestra [uncredited vocal chorus] [WORDS] |
| 50549-R TEARS--FOX TROT Henry - TUXEDO DANCE ORCHESTRA In the Fox Trot "Tears" there is a latent touch of sentiment which is unusual in the case of modern dance music of the Jazz and "slap-stick" variety. "Tears" is a sort of musical paraphrase of that extremely popular song "Smiles" which was whistled and sung to such an extent that "tears" just came as a natural result. You will find these two RE-CREATIONS just the kind of dance music you like for home use when the furniture deserves some consideration. |
50549-L MARY--FOX TROT Frey - TUXEDO DANCE ORCHESTRA This selection and the one on the reverse side of this RE-CREATION represent a comparatively new type of dance music in which the chorus is sung as well as played. The Tuxedo Dance Orchestra is especially skilful in the rendition of this kind of music. The Fox Trot apparently has secured a sure place as a dance, probably because it is so easy to execute and requires so little knowledge for the dance beginner. At the same time it offers unlimited opportunities for grace and rhythm to the adepts in the art of terpsichore. |
| R | 6785-B-64 | 1919.05.07/14 | My Cairo Love—Fox Trot (J. S. Zameouik) Green Bros. Novelty Orchestra |
| L | 6793-C-113 | 1919.05.14/9 | The Vamp—Oriental One-Step (Byron Gay) - Green Bros. Novelty Orchestra |
| R | 6790-B-20-2 | 1919.05.14/5 | Why Did You Come Into My Life? (Chas. K. Harris) Tenor with orchestra - Lewis James [WORDS] |
| L | 6791-C-9-42 | 1919.05.14/5 | When I Met You (F. Henri Klickmann) Contralto and tenor with orchestra - Helen Clark and George Wilton Ballard [WORDS] |
| 50577-R WHY DID YOU COME INTO MY LIFE? Harris LEWIS JAMES - TENOR The words and music of this song are by Chas. K. Harris, who has been a popular song writer for many years. Sentimental ballads of this kind always follow a great war, when peoples' hearts are so full of human sympathy. This song is a sort of a revival of the type of ballads that was very popular twenty years ago. Mr. Harris is famous as the composer of "After the Ball," which was one of the most popular song hits of the generation. |
50577-L WHEN I MET YOU - Klickmann HELEN CLARK AND GEORGE WILTON BALLARD CONTRALTO AND TENOR There's an unusually pretty melody in this sentimental song in which the voices of Helen Clark and George Ballard blend beautifully. Both of these singers are so well known to the Edison family that they will require no introduction. You will agree that this duet is as effective as anything they have done. Both Miss Clark and Mr. Ballard were born in the apple-growing section of western New York, which is famous not only for producing the best apples in the world, but also some of the best singers. |
| R | 6782-C-12-95 | 1919.05.07/14 | Patrol Of The Scouts (E. Boccalari) Conway's Band |
| L | 6783-C-11-2 | 1919.05.07/14 | Lola--Italian Serenade (Carl Friedemann) Conway's Band |
| R | 6878-C-15-6 | 1919.07.17 | Breeze (Blow My Baby Back To Me) (Macdonald-Goodwin-Hanley) (Male voices with orchestra) Premier Quartet [Billy Murray, tenor; John Young, tenor; Steve Porter, baritone; and Donald Chalmers, bass] [Orch. acc. featuring George Hamilton Green, xylophone] [WORDS] |
| L | 6831-C-11-7 | 1919.06.1 | Ragging The Chopsticks (Frankl-Gottler) (Baritone with orchestra) Arthur Fields [WORDS] |
| R | 6667-C-4-3 | 1919.03.15/31 | That Tumble-Down Shack in Athlone (M. Carlo-A. Sanders) Counter-Tenor and chorus with orchestra - Will Oakland [WORDS] |
| L | 6887-A-8-7 | 1919.07. | Did You Mean All You Told Me Last Night? (S. Fisk-M. Pomerance) Tenor with orchestra - Manuel Romain [WORDS] |
| R | 6865-C-14-111 | 1919.07. | Celestial Chimes (May Greene) Celesta solo - Robert Gayler |
| L | 6911-C-24-104 | 1919.08. | Christmas Bells - Celesta solo - Robert Gayler |
| R | 6892-C-43 | 1919.07.31 | Western Land--Fox Trot (Byron Gay) Saxophone, Xylophone and Piano - The All Star Trio |
| L | 6907-C-44 | 1919.08.08 | Taxi--One-Step (Mel B. Kaufman) Lenzberg's Riverside Orchestra [WORDS] |
| R | 6423-C-10-3 | 1918.10.10/23 | La Dance des Sorcieres (F. H. Losey) Sodero's Band |
| L | 6422-C-83 | 1918.10.10/23 | Miss Trombone (Henry Fillmore) New York Military Band |
| R | 6924-A-7-4 | 1919.09. | See Old Man Moon Smile (Al Bernard) (Coon Duet with orchestra) Al Bernard and Ernest Hare [WORDS] |
| L | 6922-C-17 | 1919.08. | I've Got My Captain Working For Me Now (Irving Berlin) (Tenor with orchestra) Fred. Hillebrand [WORDS] |
| R | 6043-A-11-100 | 1918.02. | Kimmel March (J. J. Kimmel) Accordion Solo - John J. Kimmel - Pianoforte by Joe Linder |
| L | 6044-B-8-105 | 1918.02. | Bonnie Kate--Medley of Reels Accordion Solo - John J. Kimmel - Pianoforte by Joe Linder |
| R | 4051-A-2-59 | 1915.08. | Daisies Won't Tell (Anita Owen) (Contralto and Baritone with Orchestra) Helen Clark and Joseph A. Phillips [WORDS] |
| L | 4729-C-6-9 | 1916.05.11/24 | Put On Your Old Grey Bonnet (Percy Wenrich) (Contralto and Baritone with Orchestra) Helen Clark and Joseph A. Phillips [WORDS] |
| R | 6963-C-1-21 | 1919.10.07 | Floatin' Down To Cotton Town (F. Henri Klickmann) (Male Voices with Orchestra) Premier Quartet [Arthur Hall, tenor; John Young, tenor; Steve Porter, baritone; and Donald Chalmers, bass] [WORDS] |
| L | 6936-C-6-15 | 1919.09. | You're My Gal (Al Bernard) (Coon Duet with Orchestra) Al Bernard and Ernest Hare [WORDS] |
| R | 6942-B-3-2 | 1919.09.22/9 | Golden Gate (Open for Me) (Kendis-Brockman) (Tenor with Orchestra) Lewis James (with Louise Ferrell in the Refrain) [WORDS] |
| L | 6941-C-4-3 | 1919.09.22/9 | Granny (Alex Belledna) (Contralto with Orchestra) Marion Evelyn Cox [WORDS] |
| R | 6904-C-10-2 | 1919.08.04/7 | I've Made Up My Mind To Mind A Maid Made Up Like You (Jean Schwartz) (Contralto and Baritone with Orchestra) Helen Clark and Joseph A. Phillips [WORDS] |
| L | 6933-B-4-13 | 1919.09. | My Desert Love (John Cooper) (Tenor with Orchestra) Lewis James [WORDS] |
| R | 6775-C-4-16 | 1919.05.07/14 | Col. Stuart March (A. F. Weldon) Conway's Band |
| L | 5856-C-9-5 | 1917.10. | The Vampire Dance Characteristic (F. H. Losey) Sodero's Band |
| R | 6989-C-1-1 | 1919.10. | Tents of Arabs--One-Step (Lee David) Tuxedo Dance Orchestra |
| L | 6984-C-7-4 | 1919.10.17 | In Siam--Fox Trot (Saxophone, Xylophone and Piano) The All Star Trio |
| R | 6749-C-17-12 | 1919.04. | Peter Gink--One Step (Adapted from "Peer Gynt" Suite I) (George L. Cobb) Tuxedo Dance Orchestra |
| L | 6929-C-1-15 | 1919.09. | Yelping Hound Blues--Fox Trot (Lada-Nunez-Cawley) Louisiana Five |
| R | 7028-C-67 | 1919.11.21 | Pretty Little Rainbow--Waltz (Vincent C. Plunkett) Lenzberg's Riverside Orchestra [uncredited vocalist] [WORDS] |
| 6985-B-10 | 1919.10.17 | Lucille--Fox Trot (Wadsworth-Arden) (Saxophone, Xylophone and Piano) The All Star Trio |
| R | 6937-C-4-2 | 1919.09. | Wait Until The Roses Bloom (Louis Morgan) (Saxophone with orchestra) Wheeler Wadsworth |
| L | 6229-C-4-1 | 1918.06.14/7 | Aloha Land (Hawaiian Waltz) (Wallie Herzer) Waikiki Hawaiian Orchestra (with Louise and Ferera) |
| R | 5506-C-1-2 | 1917.04.11/7 | Liberty Bell March (Sousa) New York Military Band |
| L | 4672-H-3-9 | 1916.04.18/24 | At a Georgia Campmeeting (Kerry Mills) New York Military Band |
| R | 7107-C-3-2 | 1920.01.03/15. | Dardanella--Fox Trot (F. Bernard--J. S. Black) Harry Raderman's Jazz Orchestra |
| L | 7102-C-3-2 | 1920.01.03/15 | Make That Trombone Laugh--Fox Trot (Henry Scharf) Harry Raderman's Jazz Orchestra |
| R | 7030-C-2-1 | 1919.11.11 | You'd Be Surprised (Irving Berlin) (Tenor with orchestra) Billy Murray [WORDS] |
| L | 7031-C-1-1 | 1919.11.11 | Sahara (We'll Soon Be Dry Like You) (Jean Schwartz) (Tenor with orchestra) Billy Murray [WORDS] |
| R | 7064-A-3-6 | 1919.12. | You Are Free--Apple Blossoms (Victor Jacobi) (Soprano and tenor with orchestra) Betsy Lane Shepherd and Lewis James [WORDS] |
| L | 7008-A-7-1 | 1919.11. | Little Girls, Good Bye--Apple Blossoms (Victor Jacobi) (Tenor and Chorus with orchestra) Lewis James [WORDS] |
| R | 7091-C-5-8 | 1920.01.03/15 | Karavan—Fox Trot (Rudy Wiedoeft) Lenzberg's Riverside Orchestra |
| L | 7096-C-1-1 | 1920.01.03/15 | When My Baby Smiles—Fox Trot (Irving Berlin) Saxophone, Xylophone and Piano – The All Star Trio |
| R | 7070-C-15-32 | 1919.12. | How Sorry You'll Be (Wait'll You See) (H. Kalmar--H. Ruby) (Contralto and Baritone with orchestra) Helen Clark and Joseph Phillips [WORDS] |
| L | 7071-C-2-25 | 1919.12. | Was There Ever A Pal Like You (Irving Berlin) (Tenor with orchestra) George Wilton Ballard [WORDS] |
| R | 7146-C-17-21 | 1920.02.05 | Bo-La-Bo--Egyptian Fox Trot (Geo. Fairman) Lopez & Hamilton's Kings Of Harmony Orchestra |
| L | 7145-C-4-11 | 1920.02.04 | My Isle of Golden Dreams--Waltz (Walter Blaufuss) Tuxedo Dance Orchestra |
| R | 7143-C-11-14 | 1920.02.01/6 | Patches--Fox Trot (Roberts-Callahan) Lopez & Hamilton's Kings of Harmony Orchestra |
| L | 7103-C-13-34 | 1920.01.03/15 | Yellow Dog Blues--Fox Trot (W. C. Handy) Harry Raderman's Jazz Orchestra |
| R | 7131-C-15-17 | 1920.01. | Swanee (George Gershwin) (Tenor and Yodler with orchestra) Al Bernard and Frank M. Kamplain [WORDS] |
| L | 7150-A-10-86 | 1920.02.06 | When My Baby Smiles At Me (Bill Munro) (Soprano and Tenor with orchestra) Rachael Grant and Billy Murray [featuring laughs by Edward Meeker] [WORDS] |
| R | 6776-A-1-16 | 1919.05.07/14 | Spirit of Independence March (Abe Holzmann) Conway's Band (SKIPS) |
| L | 5505-C-1-2 | 1917.04. | Hail To The Spirit Of Liberty March (Sousa) New York Military Band (SKIPS) |
| R | 7193-C-1-9 | 1920.03. | Pickaninny Blues (A Waltz Lullaby) (F. Henri Klickmann) (Male Voices with orchestra) Crescent Trio [WORDS] |
| L | 7204-C-1-1 | 1920.03. | Underneath The Moon (Vincent C. Plunkett) (Contralto and Baritone with orchestra) Helen Clark and Joseph Phillips [WORDS] |
| R | 7135-A-2-3 | 1920.01.28 | Wailana Waltz (Drowsy Waters) (Guitar Duet) Toots Paka's Hawaiians |
| L | 7147-H-3-2 | 1920.02/04 | Hawaiian Smiles (Mary Earl) Waikiki Hawaiian Orchestra |
| R | 6912-B-1-11 | 1919.08 | Semper Fidelis March (Sousa) New York Military Band |
| L | 6114-A-1-7 | 1918.04 | Trumpeter’s Carnival - March Militaire (F. H. Losey) New York Military Band |
| R | 7118-B-6-7 | 1920.01. | The Homeward March (John J. Kimmel) Accordion Solo - John J. Kimmel - Pianoforte by Joe Linder |
| L | 5109-A-4-5 | 1916.11. | Medley of Southern Airs - Banjo Solo, Unaccompanied - Fred J. Bacon |
| R | 4621-C-2-9 | 1916.03.30/1. | Sing Us A Song Of Bonnie Scotland (T. H. Payne) (Scotch Song with orchestra) Glen Ellison [WORDS] |
| L | 7246-B-3-3 | 1920.03.25/31 | When I was Twenty One (Harry Lauder) (Scotch Song with orchestra) Glen Ellison [WORDS] |
| R | 6986-C-3-4 | 1919.10. | Manhattan Beach March (Sousa) New York Military Band |
| L | 6949-B-1-32 | 1919.09.29/30 | Windy Willy--Characteristic March (F. H. Losey) New York Military Band |
| R | 7159-F-2-1 [2-1] | 1920.02/06 | When You're Gone I Won't Forget (Peter De Rose) (Contralto and Tenor with Orchestra) Louise Terrell and George Wilton Ballard [WORDS] |
| L | 3725-G-3-1 | 1923.05.18 | Whispering Hope (Alice Hawthorne) (Contralto and Tenor with Orchestra) Helen Clark and Walter Van Brunt [WORDS] |
| R | 7359-C-1-2 | 1920.05.20 | A Young Man's Fancy--Fox Trot - "What's In A Name" (Ager) Lenzberg's Riverside Orchestra |
| L | 7358-C-3-1 | 1920.05.20 | Lassie Waltz - "Lassie" (Felix) Lenzberg's Riverside Orchestra |
| R | 7247-A-1-2 | 1920.03.26/31 | So Long, Oo Long (How Long You Gonna Be Gone?) (Kalmar-Rudy [Ruby]) Contralto with orchestra - Helen Clark [WORDS] |
| L | 7123-A-1-1 | 1920.01. | That Naughty Waltz (Sol. P. Levy) Contralto and Baritone with orchestra - Helen Clark and Joseph Phillips [WORDS] |
| R | 7344-C-2-4 | 1920.05.11 | There's A Typical Tipperary Over Here (Abner Silver) (Male Voices with orchestra) Premier Quartet [Charles Hart, tenor; Billy Jones, tenor; Steve Porter, baritone; and Harry Donaghy, bass] [WORDS] |
| L | 7371-C-1-2 | 1920.05.24/31 | Pretty Kitty Kelly (Pease-Nelson) (Tenor with orchestra) William Bonner [WORDS] |
| R | 7254-C-4-5 | 1920.03.25/31 | My Sahara Rose Medley--Fox Trot (Clarke-Donaldson) (Two Saxophones and Two Pianos) Wiedoeft-Wadsworth Quartet |
| L | 7230-B-1-4 | 1920.03.19 | Karzan--Fox Trot (Will E. Dulmage) Green Bros. Novelty Orchestra |
| R | 7200-C-1-5 | 1920.03. | Daddy You've Been A Mother To Me (Fred Fisher) (Tenor with orchestra) George Wilton Ballard [WORDS] |
| L | 7250-C-4-1 | 1920.03.25/31 | Hiawatha's Melody of Love (Geo. W. Meyer) (Soprano and Contralto with Orchestra) Betsy Lane Shepherd and Elizabeth Lennox [WORDS] |
| R | 6112-C-4-3 | 1918.04. | The U. S. Field Artillery March (John Philip Sousa) New York Military Band |
| L | 6017-C-1-11 | 1918.02.13 | Piccolo Pic (Walter L. Slater) Creatore And His Band |
| 50688-R U. S. FIELD ARTILLERY MARCH - Sousa - NEW YORK MILITARY BAND Since the war there has been a revival of interest in military music, and of course, John Philip Sousa is our highest composer representative of that type of music. The present march of his is dedicated to the officers and men of the 306th Field Artillery National Army, U. S. A. Age and custom cannot take away anything from the spirit of the Sousa marches, and this one, composed only a few years ago, is as full of fire and pulse as anything the March King ever wrote. The New York Military Band plays the march as if it had been inspired to the task. |
50688-L PICCOLO PIC - Slater - CREATORE AND HIS BAND As we have frequently said before, humor in music is a difficult thing to achieve, but when a composer succeeds in doing so, he has the world on his side. "Piccolo Pic" contains a lot of the comic spirit. You do not listen to it very long before you smile, then you snicker, and then you laugh, especially if there is anyone with you who feels tickled in the same way by the grotesqueries of the composition. The composer, Walter L. Slater, is to be congratulated on his work. Creatore and his Band relish the job given them, evidently, and the Piccolo soloist certainly has the time of his life in the many technical stunts that he is called upon to do. |
| R | 6920-C-9-1 | 1919.08. | Uncle Josh's Birthday (Cal Stewart) A Rural Scene [Intro.: "Pick 'em up Silas, lay 'em down Zeke"] Cal Stewart And Co [incl. Ada Jones, Billy Murray, orchestra] [WORDS] |
| L | 6915-C-1-6 | 1919.08. | Ragtime At Pun'kin Center (Cal Stewart) A Rural Story – Cal Stewart [WORDS] |
| R | 7301-H-2-7 | 1920.04/07 | The Wedding Of The Rose – Intermezzo (Leon Jessel) Conway's Band |
| L | 7380-C-1-5 | 1920.06.01/7 | The American Legion March (Carl D. Vandersloot) Conway's Band |
| R | 7214-A-3-5 | 1920.03.11/9 | The Ring And The Rose (Kitty Berger) Harp-Zither Solo - Kitty Berger |
| L | 7404-C-3-3 | 1920.06.1 | The Four Jacks March (Abe Losch) Accordion Solo - Frosini |
| R | 7452-A-3-2 | 1920.07. | Moonlight In Mandalay (Abe Olman) (Soprano, Mezzo-Soprano and Contralto) The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] (Piano Accompaniment) [WORDS] |
| L | 7449-C-2-3 | 1920.07. | Tripoli (On the Shores Of Tripoli) (Contralto and Tenor) Helen Clark and George Wilton Ballard (Pianoforte by John F. Burckhardt) [WORDS] |
| R | 7456-C-3-4 | 1920.07. | In Sweet September—Fox Trot (James V. Monaco) Green Bros. Novelty Band |
| L | 7457-A -2-3 | 1920.07. | Anytime, Anyday, Anywhere—Fox Trot [Max Kortlander] Green Bros. Novelty Band |
| R | 7491-C-1-2 | 1920.08.06/11 | Down The Trail To Home Sweet Home (Ernest R. Ball) Tenor duet with orchestra - Charles Hart and Lewis James [WORDS] |
| L | 7480-B-3-2 | 1920.08.05/6 | In Old Manila (Mary Earl) Soprano and Tenor with orchestra - Betsy Lane Shepherd and Lewis James [WORDS] |
| R | 7424-A-1-6 | 1920.06.20/8 | Aloha Oe--Paraphrase (Liliuokalani-Sodero) Sodero's Band |
| L | 7302-F-8-9 | 1920.04.09 | Our Director March (F. E. Bigelow) Conway's Band |
| R | 7527-C-1-2 | 1920.09.16 | The Japanese Sandman--Fox Trot (Richard Whiting) Max Fells' Della Robbia Orchestra |
| L | 7538-A-1-1 | 1920.09.21 | Honeydew Waltz - From "Honeydew" (Efrem Zimbalist) Lenzberg's Riverside Orchestra |
| R | 7523-A-3-7 | 1920.09.10/26 | Whispering--Fox Trot (John Schonberger) Green Bros. Novelty Band |
| L | 7537-C-1-4 | 1920.09.10/26 | Feather Your Nest--Fox Trot (Kendis-Brockman-Johnson) Lenzberg's Riverside Orchestra |
| R | 7308-F-3-1 | 1920.06. | Bonnie Brier Bush March - Conway's Band |
| L | 6948-B-3-3 | 1919.09.29/30 | Pretty Dick Polka (Vangucci) New York Military Band |
| R | 7618-A-1-12 | 1920.11.03/5 | Baby Dreams (From the Musical Comedy "Jimmie") (Herbert Stothart) (Soprano and Mixed Voices with Orchestra) Elizabeth Spencer [WORDS] |
| L | 7642-A-2-15 | 1920.11.12/22 | Margie--Medley Fox Trot (Intro. Look What You've Done With Your Dog-Gone Dangerous Eyes) Max Fells's Della Robbia Orchestra |
| R | 7481-H-1-1 | 1920.09.? | Pickaninny Rose (Madelyn Sheppard) Soprano with Orchestra - Margaret A. Freer [WORDS] |
| L | 7593-A-1-6 | 1920.10.20/9 | The Bells Of St. Mary's (A. Emmett Adams) Tenor with Orchestra - Lewis James [WORDS] |
| R | 7300-C-1-5 | 1920.04. | Washington Grays March (C. S. Grafulla) Conway's Band |
| L | 5920-H-1-3 | 1917.12.p | The Battle Song of Liberty March (Bigelow-Hildreth) New York Military Band |
| R | 7726-B-1-6 | 1921.01.05/7 | O-H-I-O—Medley One-Step Fells' Della Robbia Orchestra |
| L | 7716-C-1-5 | 1921.01.03/5 | Sally—Medley Fox Trot (Jerome Kern) Harry Raderman's Jazz Orchestra |
| R | 7397-C-3-2 | 1920.06.1 | Curro Cuchares March (The Bull Fighter) (G. Metallo) Accordion Solo - Frosini |
| L | 7405-A-1-3 | 1920.06.1 | Medley of Old Time Tunes - Accordion Solo - Frosini |
| R | 7791-B-1-4 | 1921.02.10 | Come and Nestle In Your Daddy's Arms--Fox Trot (Herscher-Burke) Lenzberg's Riverside Orchestra |
| L | 7783-C-1-5 | 1921.02.08 | Deenah--Fox Trot (Henry Scharf) Harry Raderman's Jazz Orchestra |
| R | 7755-A-4-6 | 1921.01. | Margie (Conrad-Robinson) (Tenor and mixed voices with orchestra) Harvey Hindermyer [WORDS] |
| L | 7749-A-4-3 | 1921.01. | In The Heart Of Dear Old Italy (Jack Glogau) (Mixed voices with orchestra) Metropolitan Quartet [WORDS] |
| R | 7838-C-1-6 | 1921.03.10 | Blue Jeans (Kerr-Traveller) (Male Voices with Orchestra) Premier Quartet [Charles Hart, tenor; Billy Jones, tenor; Steve Porter, baritone; and Harry Donaghy, bass] [WORDS] |
| L | 7832-B-3-2 | 1921.03.08 | Hey Paw! (Guy Shrigley) (Male Voices with Orchestra) Premier Quartet [Charles Hart, tenor; Billy Jones, tenor; Steve Porter, baritone; and Harry Donaghy, bass; assisted by Edward Meeker] [WORDS] |
| R | 7870-B-1-4 | 1921.03.23/31 | Tea Leaves--Fox Trot (Egan-Whiting) Max Fells' Della Robbia Orchestra |
| L | 7829-A-2-2 | 1921.03.01/8 | Would You? Fox Trot (Sterling-McConnell) Orlando's Orchestra |
| R | 8002-C-1-3 | 1921.05.19 | In My Tippy Canoe (Intro. "Hunika") Waltz (Fred Fisher) Green Bros. Novelty Band |
| L | 8001-A-4-1 | 1921.05.19 | Listening--Fox Trot (Joe Solman) Green Bros. Novelty Band |
| R | 8007-A-1-1 | 1921.05.20 | I've Got The Travelling "Choo-Choo Blues” (Albert Von Tilzer) Marguerite Farrell [WORDS] |
| L | 7918-C-2-2 | 1921.04.08/22 | Arrah Go ’Long With You (Do You See Any Green In Me Eye) (Harry Von Tilzer) Marguerite Farrell [WORDS] |
| R | 7868-A-3-7 | 1921.03.24/5 | In A Monastery Garden (Albert W. Setelbey [Ketèlbey]) Peerless Orchestra and Male Chorus [WORDS] |
| L | 6526-F-6-8 | 1918.12.p | March Religioso (Gospel Hymns) [William P. Chambers] New York Military Band |
| R | 8030-C-3-3 | 1921.05.27 | Molly On A Trolley (Jean Schwartz) Tenor and Soprano Obbligato with Orchestra - Vernon Dalhart and Betsy Lane Shepherd [WORDS] |
| L | 8025-A-4-1 | 1921.05.26 | Yo-Lay-Ee-Oo (Means I Love You) (Motzan-Jerome) Marguerite Farrell [WORDS] |
| R | 8087-A-3-4 | 1921.06.21 | When The Honeymoon Was Over--Fox Trot (Fred Fisher) Broadway Dance Orchestra |
| L | 8086-A-2-4 | 1921.06.21 | My Sunny Tennessee--Fox Trot (Kalmar-Harry & Herman Ruby) Broadway Dance Orchestra |
| R | 8104-C-3-2 | 1921.06.28 | Bring Back My Blushing Rose - Medley Fox Trot (Introducing: "Sally, Won't You Come Back?") Ziegfeld Follies of 1921 (Friml-Stamper) Broadway Dance Orchestra |
| L | 8105-C-1-4 | 1921.06.30 | Second Hand Rose - Medley Fox Trot (Introducing: "I Know") Ziegfeld Follies of 1921 (Hanley-Monaco) Broadway Dance Orchestra |
| R | 8148-B-5-3 | 1921.07.28 | Catalina—Fox Trot (Byron Gay) Broadway Dance Orchestra |
| L | 8113-B-1-4 | 1921.07.05 | Waltz Florida (Henry Conrad) Conrad’s Orchestra |
| R | 8060-B-1-7 | 1921.06.10 | The Merry Widow Waltz (Franz Lehar) Peerless Orchestra |
| L | 8063-C-4-6 | 1921.06.14 | The Maid Of The Mountains - Selection (Fraser-Simson) Peerless Orchestra |
| R | 5504-B-4-1 | 1917.04. | The Invincible Eagle March (Sousa) New York Military Band |
| L | 6175-C-4-3 | 1918.05. | Here, There and Everywhere March (A. Bosc) New York Military Band |
| R | 8215-A-2-1 | 1921.09.14 | Fancies-Fox Trot (Herbert Spencer) Green Bros. Novelty Band |
| L | 8216-A-5-1 | 1921.09.14 | Mississippi Cradle-Medley Waltz (Intro.: "Always In My Dreams") (Olman-Cooke) Green Bros. Novelty Band |
| R | 8219-B-6-2 | 1921.09.16 | Plantation Lullaby (Stevens-Gillette-Holmer) Male Voices with Orchestra - Crescent Trio [WORDS] |
| L | 8223-C-2-1 | 1921.09.22 | Ten Little Fingers And Ten Little Toes (Down In Tennessee) (Pease-White) Tenor and Baritone, with Orch. - Billy Jones and Ernest Hare [WORDS] |
| R | 8232-C-5-3 | 1921.09.29 | Wonderland Of Dreams (L. W. Abbott) Violin solo - Rae Eleanor Ball - Pianoforte by Jessie L. Deppen |
| L | 8233-A-6-3 | 1921.09.29 | Havana Moon (Walter Smith) Violin solo - Rae Eleanor Ball - Pianoforte by Jessie L. Deppen |
| R | 7955-A-1-7 | 1921.05.01/4 | Bonnie Maggie Tamson (Harry Lauder) (Scotch Song with Orchestra) Glen Ellison [WORDS] |
| L | 7942-C-1-6 | 1921.04.27/9 | The Portobello Lassie (Harry Lauder) (Scotch Song with Orchestra) Glen Ellison [WORDS] |
| R | 8074-C-1-5 | 1921.06.16 | I'll Forget You (Ernest R. Ball) Tenor, with Orchestra - Allan Rogers [WORDS] |
| L | 8026-A-1-2 | 1921.05.26 | Under The May Moon (Lao Silésu) Tenor with orchestra - Lewis James [WORDS] |
| R | 8182-B-2-11 | 1921.08.09 | With All Her Faults, I Love Her Still (Monroe H. Rosenfeld) Tenor and Mixed Voices with Orchestra – Walter Scanlan [WORDS] |
| L | 8034-B-3-1 | 1921.05.31 | Silver Sands Of Love (Sanders-Carlo-Breau) Soprano and Tenor, with Orchestra – Elizabeth Spencer and Charles Hart [WORDS] |
| R | 8230-B-2-1 | 1921.09.29 | June Moon--Fox Trot (Magine-Straight) Lanin's Orchestra |
| L | 8231-A-2-1 | 1921.09.29 | Say It With Music--Fox Trot (from "Irving Berlin's Music Box Revue") (Irving Berlin) Lanin's Orch. |
| R | 8262-B-4-3 | 1921.10.20 | April Showers–Medley Fox Trot – Intro.”Down South”, from Al Jolson’s “Bombo (Silvers-Donaldson) Club de Vingt Orchestra |
| L | 8263-B-5-1 | 1921.10.20 | When Buddha Smiles–Fox Trot (Nacio Herb Brown) Club de Vingt Orchestra |
| R | 5078-C-4-4 | 1916.10. | The Warblers' Serenade (A Musical Travestie) (J. Perry) Sodero's Band |
| L | 5257-C-5-2 | 1917.01.01/9 | Vera--Valse Lente (Alex F. Lithgow) Sodero's Band |
| R | 7283-C-5-7 | 1920.04. | Steamboat Bill (Leighton Bros.) (Comic Song with Orchestra) Edward Meeker [WORDS] |
| L | 6962-A-2-4 | 1919.10. | The Bell Hops (Coon Vaudeville Sketch) [Billy] Golden and [Joe] Hughes [WORDS] |
| R | 8281-C-5-1 | 1921.11.03 | Weep No More--Fox Trot (My Mammy) (Lew Pollack) Harry Raderman's Jazz Orchestra |
| L | 8280-B-4-2 | 1921.11.03 | A Dream Of Your Smile--Fox Trot (Con Conrad) Harry Raderman's Jazz Orchestra |
| R | 8239-B-3-2 | 1921.10.05 | Old Comrades March (C. Teike) United States Marine Band |
| L | 8245-B-3-3 | 1921.10.09 | Ride Of The Cavalry (Wm. H. Santelmann) United States Marine Band |
| R | 8315-A-6-5 | 1921.12.08/19 | Monastery Bells Waltz (Pete Wendling) (Piano Solo) Henry W. Lange |
| L | 8226-B-4-9 | 1921.09.23 | Kitten On The Keys (Zez Confrey) (Piano Solo) Zez Confrey |
| R | 7474-C-5-1 | 1920.08.02/3 | Miss Johnson's Party Medley - Violin - Joseph Samuels - Pianoforte by Larry Briers |
| L | 7468-C-4-1 | 1920.07.28/31 | O Silenzio A Buordo (Capolongo) Accordion, Clarinet and Guitar - The Three Vagrants |
| R | 6149-A-6-4 | 1918.04. | The Little Good For Nothing's Good For Something After All (Harry Von Tilzer) (Mixed Voices with Orchestra) The Harmony Four [WORDS] |
| L | 7948-C-5-5 | 1921.04.27/9 | Isle Of Love (Murray) (Contralto and Baritone with orchestra) Helen Clark and Joseph Phillips [WORDS] |
| R | 8246-B-2-2 | 1921.10.09 | Yorktown's Centennial March (Sousa) United States Marine Band |
| L | 5423-C-4-1 | 1917.03.01/2 | The Boy Scouts of America March [Sousa] (With Boy Scouts Chorus) New York Military Band [WORDS] |
| R | 8336-C-1-1 | 1922.01.11 | A Darktown Quartet Rehearsal (Arr. by Geoffrey O'Hara) (Male Voices Unaccompanied) Premier Quartet [Charles Hart, tenor; Billy Jones, tenor; Steve Porter, baritone; and Harry Donaghy, bass] [WORDS] |
| L | 8339-B-3-3 | 1922.01.12 | Operatic Syncopation (Harriman-Egan) (Tenor and Baritone with Orchestra) Billy Jones and Ernest Hare [WORDS] |
| R | 8248-A-2-4 | 1921.10.11 | Polonaise Militaire (Chopin) United States Marine Band |
| L | 5996-C-3-4 | 1918.02.01/5 | Ballet Music--Excelsior (R. Marenco) Creatore And His Band |
| R | 8306-B-2-2 | 1921.11.29 | The "Knocker" (Edward Clark) (Character Recitation) Edward Clark [WORDS] |
| L | 8293-B-3-4 | 1921.11.18 | I'm Going Back To The Workhouse (Edward Clark) (Character Recitation) Edward Clark [WORDS] |
| R | 8346-C-2-6 | 1922.01.17/26 | A Sleepy Little Village (Where The Dixie Cotton Grows) (Pete Wendling) Tenor and Male Chorus with Orchestra - Billy Jones [WORDS] |
| L | 8361-C-6-3 | 1922.02.07 | Dreaming Of You (Raymond V. Gould) Tenor with Orchestra - George Wilton Ballard [WORDS] |
| R | 9052-A-3-6 | 1923.06.28 | When June Comes Along With A Song—Fox Trot From “The Rise Of Rosie O’Reilly” (George M. Cohan) Broadway Dance Orchestra |
| L | 9057-C-1-6 | 1923.07.03 | We Two—Fox Trot From “Dew Drop Inn” (Rudolf Friml) Kaplan's Melodists |
| R | 7176-A-2-2 | 1920.02.23/8 | The Larson Kids Go Bathing (Norwegian-English Monologue) Ethel C. Olson |
| L | 6916-C-4-3 | 1919.08. | Uncle Josh And The Sailor (Cal Stewart) (A Rural Story) Cal Stewart [WORDS] |
| R | 4107-A-4-5 | 1915.09. | A Flower of Italy (A. D’Agostino) Violin Solo – Isidore Moskowitz |
| L | 1505-C-1-2 | 1920.11. | Valse (Posthumous) (F. Chopin) Piano Solo – E. Robert Schmitz |
| R | 1559-A-6-3 | 1922.03.29 | Memories Of The South--Medley Fox Trot (Piano Solo) Ernest L. Stevens |
| L | 8386-F-4-2 | 1922.03.17 | Nola--Fox Trot (Felix Arndt) (Fox Trot Adaptation by Vincent Lopez) Vincent Lopez Orchestra |
| R | 6981-C-8-1 | 1919.10. | Since First You Smiled On Me (Frank H. Grey) Baritone Solo - Herbert C. Tilley, Jr. [WORDS] |
| L | 3278-A-1-7 | 1914.09. | Grandfather's Clock (Henry Clay Work) Contralto, Tenor and Chorus - Helen Clark and Walter Scanlan [WORDS] |
| R | 8456-C-3-6 | 1922.05.17 | Parade Of The Wooden Soldiers - Novelty March from "Chauve Souris" (Leon Jessel) Vincent Lopez Orchestra |
| L | 8444-A-6-1 | 1922.05.06 | All Over Nothing At All--Fox Trot (James S. Rule) Ernest L. Steven' Trio (Saxophone, Banjo and Piano) (Thrall-Aron-Stevens) |
| R | 8447-B-3-2 | 1922.05.09 | Sing Song Man—Fox Trot (A Chinese Fox Trot) (C. Friend – C. Conrad) Natzy's Orchestra |
| L | 8471-A-2-2 | 1922.05.31 | Whenever You're Lonesome (Fox Trot) (Just Telephone Me) (P. Wendling—M. Kortlander) Green Bros. Novelty Band |
| R | 8439-B-3-4 | 1922.05.03 | Kathleen Mavourneen - Fantasia (Crouch-Pinto) Harp Solo – Anna Pinto |
| L | 4521-A-1-11 | 1916.02. | Serenade (F. Schubert) Cornet Solo – Ernst Albert Couturier |
| R | 8238-C-2-3 | 1921.10.04 | Santa Claus Hides In Your Phonograph (Arthur A. Penn) Harry E. Humphrey [WORDS] |
| L | 4887-B-1-3 | 1916.07.18/9 | The Christmas Cobwebs (Carolyn S. Bailey) A Bed-Time Story - Edna Bailey [WORDS] |
| R | 3817-A-3-2 [2-2] | 1915.05. | Where The Silvery Colorado Wends Its Way (Charles Avrill) (Tenor and Chorus) Walter Van Brunt [WORDS] |
| L | 3583-F-5-5 | 1923.05.11 | The "Humoreske" Song - Adapted from Dvořák's Melody (Arr. by Chas. H. Roth) (Tenor Solo) Walter Van Brunt [WORDS] |
| R | 8534-A-7-2 | 1922.07.18. | With His Umpah Umpah On The Umpah Isle (Harry Von Tilzer) Collins and Harlan [WORDS] |
| L | 8484-A-4-3 | 1922.06.08 | Hurry Along, Liza With Me (Al Bernard) Al Bernard and Ernest Hare [WORDS] |
| R | 4541-C-1-6 | 1916.02. | Believe Me If All Those Endearing Young Charms (Sir John Stevenson) Cornet Solo - Ernst Albert Couturier |
| L | 5001-A-1-4 | 1916.09. | Carnival Of Venice (Variations) Accordion Solo - Frosini |
| R | 8537-A-4-3 | 1922.07.21 | My Old Hawaiian Home (F. W. Vandersloot) Palakiko's Hawaiian Orchestra |
| L | 8562-B-2-4 | 1922.08.07 | Eleanor--Fox Trot (Jessie L. Deppen) Imperial Marimba Band |
| R | 1574-A-2-3 | 1922.07.26 | Red Moon—Waltz (Henri De Martini) (Piano Solo) Ernest L. Stevens |
| L | 8533-B-3-1 | 1922.07.13 | On A Woodland Glade (Huston Ray) (Piano Solo) Huston Ray |
| R | 8603-C-2-2 | 1922.09.20 | You Gave Me Your Heart (So I Give You Mine) Fox Trot (Ted Snyder) Broadway Dance Orchestra |
| L | 8604-C-4-1 | 1922.09.20 | When The Leaves Come Tumbling Down--Fox Trot (Richard Howard) Broadway Dance Orchestra |
| R | 8716-C-2-3 | 1923.01/02 | Marie—Nocturne (Brinley-Richards, Op. 60) Piano Solo - Franz Falkenburg |
| L | 8722-A-1-3 [2-1] | 1923.01/02 | Cara Memoria—Notturno (Carl Bohm) Piano Solo - Franz Falkenburg |
| R | 8867-A-3-2 | 1923.03.02 | Day By Day In Every Way I'm Getting Better Day By Day (Jean Schwartz) Male Duet - Robert Denning and Jack Holt [WORDS] |
| L | 8863-A-2-2 | 1923.03.01 | The Lawn Swing (Carl Jean Tolman) Contralto and Male Chorus - Helen Clark [WORDS] |
| R | 1584-A-4-1 | 1922.09.29 | To-Morrow-Fox Trot (Roy Turk-J. Russel Robinson) Ernest L. Stevens' Trio (Saxophone, Banjo and Piano) Charles J. Murray, M. Aron and E. L. Stevens |
| L | 8607-A-4-1 | 1922.09.27 | Argentina-Fox Trot "George White's Scandals" (G. Gershwin) Atlantic Dance Orchestra |
| R | 8631-C-2-3 | 1922.10.11 | Kiss Mama Kiss Papa - Fox Trot (Geo. Fairman) Kaplan's Melodists |
| L | 8636-C-5-3 | 1922.10.13 | Jimmy--Fox Trot (Intro: "Time Will Tell") from "Sally-Irene-Mary" [Coots] Jos. Knecht's Waldorf-Astoria Dance Orchestra |
| R | 8609-A-4-3 | 1922.09.28 | Cock-A-Doodle-Doo—Fox Trot (Friend-Conrad) Harry Raderman's Orchestra |
| L | 8649-B-3-4 | 1922.10.30 | The Young Rajah—Fox Trot (Aubrey Stauffer) Kaplan's Melodists |
| R | 8654-C-3-4 | 1922.11.03 | Three O'Clock in the Morning (Julian Robledo) (Soprano and Tenor) Elizabeth Spencer and Charles Hart [WORDS] |
| L | 8653-C-3-2 | 1922.11.03 | When Knighthood Was In Flower (Victor Herbert) (Baritone and Soprano) J. Harold Murray and Elizabeth Spencer [WORDS] |
| R | 8630-A-7-1 | 1922.10.11 | I Came, I Saw, I Fell – Fox Trot From "The Passing Show of 1922" (Alfred Goodman) Kaplan's Melodists |
| L | 8657-C-5-3 | 1922.11.08 | Honeymoon Lane – Fox Trot (Joseph Connor) Broadway Dance Orchestra |
| R | 8662-C-2-3 | 1922.11.10 | Bees Knees - Fox Trot (Ted Lewis-Ray Lopez) Atlantic Dance Orchestra |
| L | 8661-C-2-1 | 1922.11.10 | You Are My Rain-Beau - Medley Fox Trot (Intro: "Sixty Seconds Ev'ry Minute, I Think Of You") From "Greenwich Village Follies" (Hirsch) Atlantic Dance Orchestra |
| R | 8669-B-5-3 | 1922.11.21 | Lady Of The Evening - Fox Trot - from "Music Box Revue 1922-23" (Irving Berlin) Broadway Dance Orchestra |
| L | 8665-B-6-2 | 1922.11.15 | Crinoline Days - Fox Trot - from "Music Box Revue 1922-23" (Irving Berlin) Broadway Dance Orchestra |
| R | 8704-F-6-3 | 1922.11.09 | "Calanthe" Waltzes (Abe Holzmann) Piano Solo - Ernest L. Stevens |
| L | 8705-G-4-2 | 1922.12.06 | Far From Thee - Waltzes (E. de Coen) Piano Solo - Ernest L. Stevens |
| R | 8695-C-8-2 | 1922.12.16 | On A Moonlight Night--Waltz (L. Wolfe Gilbert) Kaplan's Melodists |
| L | 8696-B-7-1 | 1922.12.16 | Underneath The Mellow Moon--Medley Waltz (Intro: "My Carolina Rose") (W. W. Hall) Kaplan's Melodists |
| R | 8801-B-2-2 | 1922.12.27 | O-Le-O-Lady (Al Bernard) Al Bernard and Frank M. Kamplain [WORDS] |
| L | 8689-C-3-4 | 1922.12.12 | Wearing Of The Green (Old Irish Air) Tenor and Mixed Chorus - Walter Scanlan [WORDS] |
| R | 8832-A-5-3 | 1923.01.31 | There's Only One Mary In Maryland (Richard Whiting) Tenor and Chorus - Harvey Hindermyer [WORDS] |
| L | 8808-A-2-6 | 1923.01.03 | Open Your Arms My Alabamy (Geo. W. Meyer) Tenor and Baritone - Billy Jones and Ernest Hare [WORDS] |
| R | 8877-B-2-4 | 1923.03.13 | Little Rover (Don't Forget To Come Back Home) (Walter Donaldson) (Tenor) Billy Jones [WORDS] |
| L | 8882-B-5-4 | 1923.03.16 | Until The End Of Time (H. W. Petrie) (Tenor) Byron Hudson [WORDS] |
| R | 8888-C-3-4 | 1923.03.22 | March Of The Mannikins - Fox Trot (Adaptation by D. Onivas) Broadway Dance Orchestra |
| L | 8887-B-5-2 | 1923.03.22 | You Know You Belong To Somebody Else (So Why Don't You Leave Me Alone) Fox Trot (James V. Monaco) Broadway Dance Orchestra |
| R | 8923-B-1-7 [2-1] | 1923.04.13 | Barney Google (Billy Rose & Con Conrad) (Tenor and Baritone) Billy Jones and Ernest Hare [WORDS] |
| L | 8929-C-7-1 | 1923.04.17 | Old King Tut (In Old King Tutenkhamen's Day) (Harry Von Tilzer) (Tenor and Baritone) Billy Jones and Ernest Hare [WORDS] |
| R | 8931-B-3-2 | 1923.04.17 | A Kiss In The Dark - Intro: "Weaving My Dreams" Medley Waltz (Victor Herbert) Kaplan's Melodists |
| L | 8927-C-4-1 | 1923.04.16 | That Red Head Gal - Blues Fox Trot (Van & Schenck & Henry Lodge) Atlantic Dance Orchestra |
| R | 8616-B-3-4 | 1923.04.17 | Regimental Pride March (J. C. Heed) United States Marine Band |
| L | 8619-B-2-3 | 1922.10.06 | March "Lithgow" (Alex. F. Lithgow) United States Marine Band |
| R | 8964-C-3-3 | 1923.05.09 | Tell Me Gypsy (Where My Lovin' Daddy's Gone) Blues Fox Trot (Spencer Williams) Broadway Dance Orchestra |
| L | 8965-A-1-3 | 1923.05.09 | Who's Sorry Now - Fox Trot (Ted Snyder) Broadway Dance Orchestra |
| R | 8989-B-7-6 | 1923.05.18 | Yes! We Have No Bananas --Fox Trot(Frank Silver and Irving Cohn) Green Bros. Novelty Band [uncredited vocalist] [WORDS] |
| L | 8985-B-4-5 | 1923.05.17 | Ritzi Mitzi (A Snappy, Peppy Ditty) Fox Trot (Con Conrad and Irving M. Bibo) Kaplan's Melodists |
| R | 9021-C-4-5 | 1923.06.11 | Louisville Lou – Fox Trot (Milton Ager) Paul Victorin's Orchestra |
| L | 9022-A-4-2 | 1923.06.12 | The Duck's Quack (A Barnyard Jazzboree) (Hannibal Maguire) Fox Trot (Imitations by Gilbert Girard) Kaplan's Melodists |
| R | 8736-B-5-3 | 1923.05.31 | March of the Mannikins (D, Onivas) Characteristic Fox Trot - Piano Solo - Ray Perkins |
| L | 8737-C-3-4 | 1923.05.31 | Parade of the Wooden Soldiers (Leon Jessel, Op. 123) Characteristic Fox Trot - Piano Solo - Ray Perkins |
| R | 9011-B-1-8 | 1923.06.06 | Parade Of The Wooden Soldiers (Leon Jessel) Tenor and Mixed Voices - Harvey Hindermyer [WORDS] |
| L | 9031-C-1-8 | 1923.06.14 | That's My Baby (Sidney Clare, Cliff Friend and Owen Murphy) Male Duet - Robert Denning and Jack Holt [WORDS] |
| R | 8742-B-1-6 | 1923.06/07 | Who’s Sorry Now? Waltz (Ted Snyder) Piano Solo – Ernest L. Stevens |
| L | 9084-B-3-2 | 1923.07.18 | Broken Hearted Melody (Intro: “Moon River”) Waltz (Isham Jones) Piano Solo – Ernest L. Stevens |
| R | 9091-C-1-7 | 1923.07.24 | Last Night On The Back Porch (I Loved Her Best Of All) Fox Trot (Lew Brown and Carl Schraubstader) Green Bros. Novelty Band |
| L | 9092-A-1-5 | 1923.07.24 | Polly-Olly-Oo (Said The Parrot To The Cuckoo) Fox Trot (Ray Henderson) Green Bros. Novelty Band |
| R | 9005-B-1-1 | 1923.06.04 | Marche Slave (Tschaikowsky) Sodero's Band |
| L | 9006-A-5-1 | 1923.06.04 | Chicago Tribune March (W. P. Chambers) Sodero's Band |
| R | 8746-D-4-1 | 1923.07.26 | Rustle Of Spring (Fruhlingsrauschen) (Christian Sinding) Piano Solo – May A. Meyer |
| L | 8747-C-1-4 | 1923.07.26 | Murmuring Zephyrs (Transcription) (Adolf Jensen) Piano Solo – May A. Meyer |
| R | 9107-B-1-16 | 1923.07.31 | Marcheta (A Love Song Of Old Mexico) (Victor L. Schertzinger) Tenor - Walter Scanlan [WORDS] |
| L | 9062-B-3-9 | 1923.07.06 | Say It With A Ukulele ("Art" Conrad) Tenor Duet - Bailey And Bent [WORDS] |
| R | 9094-A-4-1 | 1923.07.25 | Oh! Sister, Ain't That Hot! (Harry White and Will Donaldson) (Tenor) Robert White [Vernon Dalhart] [WORDS] |
| L | 9115-C-3-7 | 1923.08.02 | Oh! How He Lied To Me (Harry White and Will Donaldson) Florence Brady [WORDS] |
| R | 9102-A-3-5 | 1923.07.28 | Wonder If She's Lonely, Too (Bernie Grossman & Willy White) (Tenor) Lewis James [WORDS] |
| L | 9106-A-1-4 | 1923.07.31 | Cry Baby "Helen of Troy, New York" (Bert Kalmar and Harry Ruby) (Soprano Duet) Gladys Rice and Betsy Lane Shepherd [WORDS] |
| R | 9112-B-3-3 | 1923.08.02 | Roll Along Missouri - Waltz (M. K. Jerome) McNalpak's Dance Orchestra |
| L | 9116-A-1-5 | 1923.08.03 | Rose Of The Morning (Intro: "My Dutch Lady") Medley Fox Trot from "The Passing Show Of 1923" (Sigmund Romberg-Jean Schwartz) Willie Creager's Dance Orchestra |
| R | 9136-B-5-13 | 1923.09.05 | That's A Lot Of Bunk (Al Wilson, James A. Brennan and Mack Henshaw) Billy Jones and Ernest Hare [WORDS] |
| L | 9114-A-6-2 | 1923.08.02 | That Old Gang Of Mine (Ray Henderson) Tenor and Baritone - Billy Jones and Ernest Hare [WORDS] |
| R | 9120-B-3-1 | 1923.08.21 | Drigo's Serenade - Adaptation From "Les Millions D'Arlequin" [Riccardo Drigo] - Harry Barth's Mississippians |
| L | 9121-A-1-3 | 1923.08.21 | Indiana Moon - Waltz (Isham Jones) Harry Barth's Mississippians |
| R | 9171-B-4-3 | 1923.09.21 | Just A Girl That Men Forget (Al Dubin, Fred Rath and Joe Garren) Violin Solo - Rae Eleanor Ball (Pianoforte by John F. Burckhardt) |
| L | 9172-B-3-2 | 1923.09.21 | Rufus On The Old Kent Road (Rae Eleanor Ball) Violin Solo - Rae Eleanor Ball (Pianoforte by John F. Burckhardt) |
| R | 9122-C-1-3 | 1923.08.23 | Mother Goose Songs No. 1 - Tenor - Lewis James [WORDS] |
| L | 9127-B-2-4 [2-1] | 1923.08.28 | Mother Goose Songs No. 2 - Tenor - Lewis James [WORDS] |
| R | 8762-B-3-1 | 1923.09.27 | 'O Sole Mio – Transcription (Di Capua-Himmelreich) Piano Solo – Ferdinand Himmelreich |
| L | 8763-A-1-3 | 1923.09.29 | Frühlingsregen (Spring Showers) (William Fink, Op. 174) Piano Solo Victor Young |
| R | 8787-B-1-2 | 1923.10.27 | Just A Girl That Men Forget--Waltz (Al Dubin, Fred Rath and Joe Garren) Saxophone, Banjo and Piano - Stevens' Trio |
| L | 9192-C-5-3 | 1923.10.05 | Chansonette--Fox Trot (Rudolf Friml) Don Parker's Dance Orchestra |
| R | 9264-B-3-1 | 1923.11.24 | Opera Reel With Calls - Violin - Jasper Bisbee - Pianoforte by Beulah Bisbee-Schuler [WORDS] |
| L | 9262-B-1-3 | 1923.11.24 | McDonald's Reel - Violin - Jasper Bisbee - Pianoforte by Beulah Bisbee-Schuler |
| R | 9275-A-3-1 | 1923.12.01 | That Bran’ New Gal O’ Mine - Fox Trot (Van and Schenck, Benny Davis and Harry Akst) Broadway Dance Orchestra |
| L | 9274-A-1-5 | 1923.12.01 | Headin’ Home - Fox Trot(Billy Rose and Maceo Pinkard) Broadway Dance Orchestra
|
| R | 9242-A-1-1 | 1923.11.08 | Mother Goose Songs No. 3 - Tenor - Lewis James [WORDS] |
| L | 9243-A-1-1 | 1923.11.08 | Mother Goose Songs No. 4 - Tenor - Lewis James [WORDS] |
| R | 8773-A-5-1 | 1923.10.16 | Last Hope - Transcription (Louis M. Gottschalk) Piano Solo - Ferdinand Himmelreich |
| L | 8774-B-1-4 | 1923.10.16 | Believe Me If All Those Endearing Young Charms - Transcription (Tom Moore) (Piano Solo) Ferdinand Himmelreich |
| R | 9311-C-4-1 | 1923.12.28 | Dancin’ Dan - Fox Trot (Jack Stanley) The Merry Sparklers |
| L | 9312-C-1-3 | 1923.12.28 | Blue Rose - Fox Trot (Eugene Herbert) The Merry Sparklers |
| R | 8798-B-4-2 | 1923.12.06 | You Didn't Want Me When I Wanted You (I'm Somebody Else's Now) Fox Trot (Jack Stern) Saxophone, Banjo and Piano - Stevens' Trio |
| L | 9301-A-1-1 | 1923.12.21 | You --Fox Trot(Bud Cooper) Ernest Stevens' Dance Orchestra |
| R | 9321-C-3-2 | 1924.01.04 | I'm Somebody Nobody Loves – Fox Trot (Benny Davis, Benton Ley and Harry Akst) Green Bros. Novelty Band |
| L | 9327-A-4-3 | 1924.01.11 | Johnny, Stop! Please Don't! Mom-ma! – Fox Trot (Fred Fisher) Harry Raderman's Dance Orchestra |
| R | 9332-B-3-3 | 1924.01.15 | The Little Wooden Whistle Wouldn't Whistle (Harry Von Tilzer) Tenor - Billy Jones [WORDS] |
| L | 9326-A-3-1 | 1924.01.10 | Finnegan's In Again (There's The Devil Of A Time) (Billy Hicky and Billy Joyce) Tenor - Robert Denning [WORDS] |
| R | 9205-A-1-2 | 1923.10.12 | Oh! Susanna (Stephen C. Foster) Male Voices – Criterion Quartet [WORDS] |
| L | 9316-B-3-1 | 1924.01.03 | Lindy Lady (Percy Wenrich) Male Voices – Criterion Quartet [WORDS] |
| R | 9377-A-1-3 | 1924.02.15 | California Here I Come-Fox Trot (Al Jolson, Bud De Sylva and Joseph Meyer) Atlantic Dance Orchestra |
| L | 9347-A-1-2 | 1924.01.28 | Egyptian Rose-Fox Trot (Ted Snyder) Kaplan's Melodists |
| R | 9378-C-1-4 | 1924.02.15 | Limehouse Blues – Fox Trot from “Charlot’s Revue of 1924” (Philip Braham) Atlantic Dance Orchestra |
| L | 9348-A-3-3 | 1924.01.28 | La Java – Waltz from “Innocent Eyes” (Maurice Yvain) Kaplan's Melodists |
| R | 9196-C-1-3 | 1923.10.09 | Father Of Victory March (L. Ganne) United States Marine Band |
| L | 9197-B-1-2 | 1923.10.09 | Marche Militaire (F. Schubert, Op. 51 No. 1) United States Marine Band |
| R | 9383-A-4-2 | 1924.02.20 | There's Nobody Else But You--Fox Trot (Gilbert) Broadway Dance Orchestra [Lamination crack - SKIPS] |
| L | 9389-A-5-2 | 1924.02.21 | Every Day I Hear My Daddy Say (Riddle Dum Bum)--Fox Trot (Art Randall) The Merry Sparklers |
| R | 10019-C-1-6 | 1924.02.20 | A Smile Will Go a Long Long Way - Piano Novelty (Benny Davis & Harry Akst) Piano Solo - Ernest L. Stevens |
| L | 10020-B-5-1 | 1924.03.25 | The West, a Nest, and You - Waltz (Billy Hill) Piano Solo - Harry Osborne [Ernest L. Stevens] |
| R | 9467-C-1-1 | 1924.04.15 | Chickie - Fox Trot (Irving Mills) Nathan Glantz And His Orchestra |
| L | 9466-C-1-2 | 1924.04.15 | Tell Me If You Want Somebody Else ('Cause Somebody Else Wants Me) Fox Trot (Austin and Bergere, Sammy Mann, Rubey Cowan) Nathan Glantz And His Orchestra |
| R | 9502-C-1-4 | 1924.05.08 | Paradise Alley - Fox Trot and Song from "Paradise Alley" (Harry Archer and Carle Carlton) Fox Trot by Harry Raderman's Dance Orchestra - Song by Arthur Hall [WORDS] |
| L | 9536-B-4-4 | 1924.05.28 | Bringin' Home The Bacon - Fox Trot And Song (Frank Bannister, Lew Colwell and Van & Schen[c]k) Fox Trot by Kaplan's Melodists - Song by Vernon Dalhart [WORDS] |
| R | 9555-C-1-4 | 1924.06.08 | Tune In On L-O-V-E (Leonard Whitcup) Tenor - Billy Jones [WORDS] |
| L | 9545-B-1-4 | 1924.06.02 | In Nineteen-Ninety-Nine (Al Bernard) Al Bernard [WORDS] |
| R | 8311-A-2-3 | 1921.12.07 | Swing Low, Sweet Chariot - Negro Spiritual - Male Voices - The Southern Four [Fisk University Jubilee Quartet] [WORDS] |
| L | 8312-A-2-3 | 1921.12.07 | (A) Shout All Over God's Heaven (B) Standin' In The Need O' Prayer - Negro Spirituals - Male Voices - The Southern Four [Fisk University Jubilee Quartet] [WORDS] |
| R | 9577-C-1-8 | 1924.06.20 | What Has Become Of Hinky Dinky Parlay Voo (Al Dubin, Irving Mills, Jimmy McHugh and Irwin Dash) Al Bernard and Chorus [WORDS] |
| L | 9583-C-5-3 | 1924.06.25 | I'm Gonna Bring A Water-Melon (To My Girl To-Night) (Con Conrad) Billy Jones and Ernest Hare [WORDS] |
| R | 9512-A-4-6 | 1924.05.13 | Baby Sister Blues - Intro: "Honolulu Hula hula Heigh!" (Henry I. Marshall) Soprano and Contralto Duet - MacDowell Sisters [WORDS] |
| L | 9513-C-1-9 | 1924.05.13 | One, Two, Three, Four (Jack Alau) Soprano and Contralto Duet - MacDowell Sisters [WORDS] |
| R | 9602-C-3-4 | 1924.07.07 | The Sidewalks Of New York (Chas. B. Lawlor and James W. Blake) Tenor and Chorus - Billy Jones [WORDS] |
| L | 3586-B-1-6 | 1915.02. | I'm Just A Ragged Newsboy, But My Heart's True Blue (Harry D. Kerr) Tenor - Walter Scanlan [WORDS] |
| R | 9259-A-1-3 | 1923.11.24 | Money Musk With Variations - Violin - Jasper Bisbee - Pianoforte by Beulah Bisbee-Schuler |
| L | 9260-A-1-3 | 1923.11.24 | The Girl I Left Behind Me--Medley - Violin - Jasper Bisbee - Pianoforte by Beulah Bisbee-Schuler |
| R | 9261-C-3-6 | 1923.11.24 | College Hornpipe - Violin - Jasper Bisbee - Piano by Beulah Bisbee-Schuler |
| L | 9263-B-1-2 | 1923.11.24 | The Devil's Dream (Reel) Violin - Jasper Bisbee - Piano by Beulah Bisbee-Schuler |
| R | 9665-B-1-4 | 1924.08.06 | Lucille -Fox Trot(L. Wolfe Gilbert and Abner Silver) Golden Gate Dance Orchestra |
| L | 9669-C-3-2 | 1924.08.07 | Kiss Me Goodnight-Waltz (Ben Bernie, Vernon Stevens, Gladys Gillette and Elmer Olson) Harry Raderman's Dance Orchestra |
| R | 9651-B-3-2 | 1924.07.31 | Put Away A Little Ray Of Golden Sunshine For A Rainy Day – Fox Trot And Song (Fred E. Ahlert) Fox Trot by The Top Notchers – Song by George Wilton Ballard [WORDS] |
| L | 9667-B-1-4 | 1924.08.07 | Morning (Won't You Ever Come ’Round) Fox Trot And Song (Roy Turk and Abner Silver) Fox Trot by Kaplan's Melodists – Song by George Wilton Ballard [WORDS] |
| R | 9661-A-4-7 | 1924.08.05 | Jealous (Jack Little) Wright and Bessinger - The Radio Franks [WORDS] |
| L | 9636-A-4-4 | 1924.07.22 | The Pal That I Loved Stole The Gal That I Loved (Harry Pease and Ed. G. Nelson) Tenor - James Doherty [WORDS] |
| R | 9643-C-3-1 | 1924.07.24 | Sister Hasn't Got A Chance Since Mother Bobbed Her Hair (Harry Von Tilzer) Collins And Harlan [WORDS] |
| L | 9642-C-3-2 | 1924.07.24 | Go 'Long, Mule (Henry Creamer and Robert King) Arthur Collins[WORDS] |
| R | 9673-C-1-5 | 1924.08.26 | Words - Fox Trot (Al. Dubin, Al. Tucker and Otis Spencer) Congo Four |
| L | 9674-C-1-1 | 1924.08.26 | I'd Give Ev'ry Rose On Broadway For That Little Rose Back Home - Fox Trot (Fred Fisher and Sidney Holden) Congo Four |
| R | 5711-A-1-4 | 1917.07.25/31 | Duo Concertant (Ch. Baermann, Op. 33) Two Clarinets - Anthony Giammatteo and Fred J. Brissett |
| L | 4997-B-1-4 | 1916.09. | Sonata In C Major (Frosini) Accordion Solo [Pietro J.] Frosini |
| R | 9692-A-3-1 | 1924.09.08 | Carry Your Cross With A Smile (Chas H. Gabriel) Baritone and Mixed Voices - Homer Rodeheaver [WORDS] |
| L | 9694-C-1-5 | 1924.09.08 | All The Way To Calvary (Rev. A. H. Ackley) Baritone and Mixed Voices - Homer Rodeheaver [WORDS] |
| R | 9738-C-1-2[2-1] | 1924.09.25 | Dreary Weather - Fox Trot And Song (Clay Boland & Frank Winegar) Fox Trot by Broadway Dance Orchestra--Song by Charles Hart [WORDS] |
| L | 9722-A-1-7 | 1924.09.19 | Italian Rose - Fox Trot And Song (Art Walsh & Tony Panucci) Fox Trot by Kaplan's Melodists - Song by Charles Hart [WORDS] |
| R | 9755-B-3-1 | 1924.09.30 | I Wonder What's Become Of Sally? (Milton Ager) Tenor and Chorus – James Doherty [WORDS] |
| L | 9756-B-7-1 | 1924.09.30 | When I Was The Dandy And You Were The Belle (Lou Handman & Dave Dreyer) Tenor – Walter Scanlan [WORDS] |
| R | 9770-B-3-1 | 1924.10.07 | Somebody Loves Me - Fox Trot from "George White's Scandals" (Ballard MacDonald, B. G. De Sylva and George Gershwin) Nathan Glantz And His Orchestra |
| L | 9772-C-1-3 | 1924.10.08 | Tea For Two - Fox Trot from "No No Nanette" (Irving Caesar and Vincent Youmans) Green Bros. Novelty Band |
| R | 9730-B-1-1 | 1924.09.23 | Little Brown Jug - Singing, Harmonica and Guitar - The Blue Ridge Duo - Gene Austin and George Reneau [WORDS] |
| L | 9732-A-1-6 | 1924.09.23 | Arkansas Traveler (Breakdown) Harmonica and Guitar with Dance Calls - The Blue Ridge Duo - Gene Austin and George Reneau [WORDS] |
| R | 9662-B-4-1 | 1924.08.05 | How Come You Do Me Like You Do? (Gene Austin and Roy Bergere) Florence Brady [WORDS] |
| L | 9610-A-3-1 | 1924.07.10 | Hard-Hearted Hannah (The Vamp Of Savannah) Tenor (Jack Yellen, Bob Bigelow and Chas. Bates) Robert White [Vernon Dalhart] [SKIPS] [WORDS] |
| R | 9779-B-1-5 [2-3] | 1924.10.09 | It Ain't Gonna Rain No Mo' (2nd Edition) (Wendell Hall) (The Happiness Boys) Billy Jones and Ernest Hare [WORDS] |
| L | 9791-C-1-1 | 1924.10.15 | Ain't You Comin' Out To-Night? (Robinson and Massey) Vernon Dalhart & Company [WORDS] |
| R | 9678-C-1-9 | 1924.08.28 | Moana Chimes--Waltz (Bartley Costello & Otto Motzan) Waikiki Hawaiian Orchestra |
| L | 9679-A-3-1 | 1924.08.28 | Under The South Sea Palms (Mitchel Parish & George Johnson) Waikiki Hawaiian Orchestra |
| R | 9880-A-3-2 | 1924.11.15 | Nightingale - Waltz (James Brockman) Polla's Clover Gardens Orchestra |
| L | 9777-B-5-1 | 1924.10.09 | Me And The Boy Friend - Fox Trot (Sidney Clare & Jimmie Monaco) Meadowbrook Dance Orchestra |
| R | 9789-A-12-1 | 1924.10.15 | The Prisoner's Song (Guy S. Massey) Vernon Dalhart & Co. [WORDS] |
| L | 9790-A-10-3 | 1924.10.15 | Way Out West In Kansas (Carson Robinson) Vernon Dalhart & Co. [WORDS] |
| R | 9202-C-1-5 | 1923.10.10 | Brooke's Triumphal March (Roland F. Seitz) United States Marine Band |
| L | 9200-B-1-5 | 1923.10.10 | National Fencibles March (Sousa) United States Marine Band |
| R | 9947-B-1-2 | 1925.01.19 | Keep Smiling At Trouble (Trouble’s A Bubble) Fox Trot from "Big Boy" (Al Jolson, B. G. De Sylva & Lewis Gensler) Golden Gate Orchestra |
| L | 9948-C-1-1 | 1925.01.19 | Oh! Mabel – Fox Trot (Gus Kahn & Ted Fiorito) Golden Gate Orchestra |
| R | 9950-B-1-5 | 1925.01.20 | Oh, Katharina! Fox Trot And Song (L. Wolfe Gilbert and Richard Fall) Fox Trot by Green Bros. Novelty Band--Song by Arthur Hall [WORDS] |
| L | 9954-A-5-3 | 1925.01.21 | How I Love That Girl! Fox Trot And Song (Gus. Kahn and Ted Fiorito) Fox Trot by Polla's Clover Gardens Orchestra--Song by Vernon Dalhart [WORDS] |
| R | 9979-C-3-3 | 1925.01.29 | All Alone (Irving Berlin) Tenor - Walter Scanlan [WORDS] |
| L | 9999-C-3-3 | 1925.02.10 | Rose-Marie - From "Rose-Marie" (Otto Harbach, Oscar Hammerstein, 2nd & Rudolf Friml) Tenor - Walter Scanlan [WORDS] |
| R | 10242-C-1-1 | 1925.03.04 | You Gave All Your Kisses To Somebody Else (So Why Bring Your Tears to Me) (Mitchell Parish and Lou Herscher) (Tenor) James Doherty [WORDS] |
| L | 9918-A-1-1 | 1924.12.26 | The Heart of A Girl (Gus Kahn and H. Leopold Spitalny) (Tenor) James Doherty [WORDS] |
| R | 10338-A-1-11 | 1925.04.28 | Ukulele Lady (Gus Kahn & Richard A. Whiting) Male Voices - Arthur Hall And John Ryan [WORDS] |
| L | 10341-B-1-6 | 1925.04.29 | Don't Bring Lulu (Billy Rose, Lew Brown & Ray Henderson) Billy Jones And Ernest Hare (The Happiness Boys) [WORDS] |
| R | 10451-A-4-2 | 1925.06.23 | Collegiate - Novelty Fox Trot with Vocal Chorus (Lew Brown, Moe Jaffe & Nat Bonx) Golden Gate Orchestra [WORDS] |
| L | 10440-B-1-7 | 1925.06.18 | Steppin' In Society - Fox Trot (Alex Gerber & Harry Akst) Billy Wynne's Greenwich Village Inn Orchestra |
| R | 9988-B-1-5 | 1925.02.03 | When They Ring The Golden Bells For You And Me (Dion De Marbelle) Tenor and Mixed Voices - Charles Hart [WORDS] |
| L | 9040-B-1-4 | 1923.06.21 | Are You Coming Home To-Night? (James McGranahan) Tenor Duet and Mixed Voices - Harvey Hindermyer and Charles Hart [WORDS] |
| R | 10555-B-3-6 | 1925.09.02 | The John T. Scopes Trial (The Old Religion's Better After All) (Carlos B. McAfee) Singing, Violin and Guitar - Vernon Dalhart And Company [WORDS] |
| L | 10556-C-3-6 | 1925.09.02 | The Death Of Floyd Collins (Rev. Andrew Jenkins and Mrs. Irene Spain) Singing, Violin and Guitar - Vernon Dalhart And Company [WORDS] |
| R | 10570-B-1-1 | 1925.09.14 | Oh Boy, What A Girl! - Fox Trot with Vocal Chorus (Bud Green, Wright & Bessinger) Mike Speciale And His Hotel Carlton Terrace Orchestra - Vocal Chorus by Arthur Hall [WORDS] |
| L | 10569-A-1-1 | 1925.09.14 | Alone At Last - Fox Trot (Gus Kahn & Ted Fiorito) Mike Speciale And His Hotel Carlton Terrace Orchestra |
| R | 10567-B-1-1 | 1925.09.10 | Tranquillo Overture (Pietro) Accordion Solo - Anthony Monde |
| L | 10568-B-1-1 | 1925.09.10 | Repasz Band March (Chas. S. Sweeley) Accordion Solo - Anthony Monde |
| R | 10581-B-1-5 | 1925.09.17 | Remember - Waltz (Irving Berlin) Jack Stillman's Orchestra |
| L | 10592-C-1-5 | 1925.09.24 | Normandy - Fox Trot (Russel Robinson, Jack Little & Addy Britt) Irwin Abrams And His Knickerbocker Grill Orchestra |
| R | 10637-C-3-1 | 1925.10.15 | Freshie - Fox Trot with Vocal Chorus (Jesse Greer and Harold Berg) Golden Gate Orchestra [Arthur Hall] [WORDS] |
| L | 10591-A-1-9 | 1925.09.24 | The Co-Ed - Fox Trot (Con Conrad and Saul Bernie) Irwin Abrams And His Knickerbocker Grill Orchestra |
| R | 10571-A-1-3 | 1925.09.14 | Big Butter And Egg Man (Phil Baker) Phil Baker And His Accordion (A Bad Boy From A Good Family) [WORDS] |
| L | 10636-A-1-2 | 1925.10.14 | Ann And Her Little Sedan (James F. Hanley, Jack Stanley & Henry Creamer) Phil Baker And His Accordion (A Bad Boy From A Good Family) [WORDS] |
| R | 10648-C-3-1 | 1925.10.22 | Croon A Little Lullaby (Harry D. Kerr, Chris Schonberg & Clyde Baker) Vocal Duet - Wright & Bessinger (The Radio Franks) [WORDS] |
| L | 10649-B-3-1 | 1925.09.02 | I'm Sitting On Top Of The World (Just Rolling Along--Just Rolling Along) (Lewis, Young and Ray Henderson) Vocal Duet - Wright & Bessinger (The Radio Franks) [WORDS] |
| R | 10584-A-1-3 | 1925.09.18 | Old MacDonald Had A Farm - The Sam Patterson Trio [WORDS] |
| L | 10639-B-1-3 | 1925.10.16 | Haul De Woodpile Down - The Sam Patterson Trio [WORDS] |
| R | 10684-A-1-5 | 1925.11.17 | I Wonder Where My Baby Is To-Night (Gus Kahn and Walter Donaldson) Vocal Duet – Wright And Bessinger (The Radio Franks) [WORDS] |
| L | 10674-B-1-4 | 1925.11.11 | I Never Knew (Gus Kahn and Ted Fiorito) Vocal Duet – Wright And Bessinger (The Radio Franks) [WORDS] |
| R | 10692-A-1-1 | 1925.11.24 | Clap Hands! Here Comes Charley! - Fox Trot with Vocal Chorus (Billy Rose, Ballard MacDonald and Joseph Meyer) Golden Gate Orchestra - Vocal Chorus by [Arthur] Hall and [John] Ryan [WORDS] |
| L | 10693-B-1-4 | 1925.11.24 | Five Foot Two, Eyes Of Blue (Has Anybody Seen My Girl?) Fox Trot with Vocal Chorus (Lewis, Young and Ray Henderson) Golden Gate Orchestra - Vocal Chorus by [Arthur] Hall and [John] Ryan [WORDS] |
| R | 10670-B-1-2 | 1925.11.09 | Love Dreams of LuLa Lu (Alice White) Waikiki Hawaiian Orchestra |
| L | 10671-A-1-2 | 1925.11.09 | Sweet Hawaiian Dreams (Mitchell Parish-Arthur Coleman) Waikiki Hawaiian Orchestra |
| R | 10754-C-3-2 | 1926.01.06 | In Your Green Hat – Fox Trot with Vocal Chorus (Jack Yellen and Milton Ager) Tennessee Happy Boys – Vocal Chorus by Arthur Hall [WORDS] |
| L | 10755-A-1-5 | 1926.01.06 | A Little Bungalow – Fox Trot from The “COCOANUTS” (Irving Berlin) Tennessee Happy Boys |
| R | 10823-B-3-2 | 1926.02.08 | Always Waltz (Irving Berlin) Kaplan's Melodists |
| L | 10762-A-3-2 | 1926.01.11 | Whose Who Are You? Fox Trot (Ray Klages, Abel Green & Jesse Greer) Duke Yellman And His Orchestra |
| R | 10225-A-1-2 | 1925.02.26 | Katy Hill – Reel – Champion Fiddler of Tennessee – Allen Sisson – John F. Burckhardt at the Piano |
| L | 10228-A-1-3 | 1925.02.26 | Cumberland Gap – Reel – Champion Fiddler of Tennessee – Allen Sisson – John F. Burckhardt at the Piano |
| R | 10812-B-1-1 | 1926.02.03 | I Love My Baby (Bud Green & Harry Warren) The Frolickers |
| L | 10813-B-1-1 | 1926.02.04 | Dinah (Sam M. Lewis, Joe Young & Harry Akst) The Frolickers |
| R | 10824-A-1-2 | 1926.02.11 | 'O Sole Mio (E. di Capua) Accordion [Anthony] Monde |
| L | 10825-A-1-2 | 1926.02.11 | La Paloma (Yradier) Accordion [Anthony] Monde |
| R | 10837-A-1-6 | 1926.02.18 | In My Gondola (Bud Green & Harry Warren) Billy Jones and Ernest Hare (The Happiness Boys) [WORDS] |
| L | 10839-A-1-4 | 1926.02.19 | Wimmin Aaah! (Bud Green, Harry Warren, and Dan Dougherty) Billy Jones and Ernest Hare (The Happiness Boys) [WORDS] |
| R | 10855-A-3-1 | 1926.02.27 | Always (Irving Berlin) Violin - Rae Eleanor Ball - John F. Burckhardt at the Piano |
| L | 10856-C-3-1 | 1926.02.27 | Remember (Irving Berlin) Violin - Rae Eleanor Ball - John F. Burckhardt at the Piano |
| R | 10220-C-1-3 | 1925.02.25 | Kentucky Waggoners-Reel - Champion Fiddler of Tennessee - Allen Sisson |
| L | 10224-B-1-3 | 1925.02.26 | Grey Eagle-Reel - Champion Fiddler of Tennessee - Allen Sisson |
| R | 10934-A-1-12 | 1926.04.20 | Valencia (Lucien Boyer, Jacques Charles, Clifford Grey & José Padilla) Jack Stillman's Orchestra - Vocal Refrain by Charles Harrison [WORDS] |
| L | 10935-C-3-5 | 1926.04.20 | Lulu Belle - Fox Trot from "Lulu Belle" (Leo Robin & Richard Myers) Jack Stillman's Orchestra |
| R | 10967-A-1-5 | 1926.05.10 | Bye Bye Blackbird (Mort Dixon & Ray Henderson) Male Voices - National Male Quartet [WORDS] |
| L | 10976-C-1-6 | 1926.05.11 | Honey Bunch (Cliff Friend) Male Voices - National Male Quartet [WORDS] |
| R | 11074-B-1-6 | 1926.06.25 | When You Find A Girl Who Loves You - Waltz with Vocal Refrain (Lewis Daily and Wm T. Ferris) Kaplan's Melodists (Vocal Refrain by Johnny Ryan) [WORDS] |
| L | 11080-C-1-6 | 1926.06.30 | Kentucky Lullaby - Waltz (Ned Miller and Chester Cohn) B. A. Rolfe (Trumpet Virtuoso) and His Palais D'Or Orchestra |
| R | 11138-A-1-2 | 1926.07.30 | Mary Lou—Fox Trot (Abe Lyman, George Waggner & J. Russel Robinson) Duke Yellman And His Orchestra [uncredited vocalist] [WORDS] |
| L | 11139-B-1-1 | 1926.07.31 | Oh! If I Only Had You—Fox Trot (Gus Kahn and Cliff Friend) Duke Yellman And His Orchestra [uncredited vocalist] [WORDS] |
| R | 11141-B-1-1 | 1926.08.02 | Lonesome And Sorry (Benny Davis and Con Conrad) Violin Solo - Rae Eleanor Ball - John F. Burckhardt at the Piano |
| L | 11140-B-1-1 | 1926.08.02 | Iyone—My Own Iyone (Alfred Bryan, Addy Britt and Harold Leonard) Violin Solo - Rae Eleanor Ball - John F. Burckhardt at the Piano |
| R | 11152-C-1-2 | 1926.08.04 | On The Riviera (L. Wolfe Gilbert, Paul Van Loan & Fred Rich) Duke Yellman And His Orchestra [uncredited vocalist] [WORDS] |
| L | 11145-C-1-4 | 1926.08.03 | And Then I Forget - Fox Trot (Benny Davis and Joe Burke) B. A. Rolfe (Trumpet Virtuoso) and his Palais D’Or Orchestra [uncredited vocalist] [WORDS] |
| R | 11149-A-1-4 | 1926.08.04 | It's Breaking My Heart To Keep Away From You (Harry A. Romm and Harry D. Squires) Tenor - James Doherty [WORDS] |
| L | 10499-C-1-5 | 1925.07.14 | If I Can't Have You (Nick Lucas and Sam H. Stept) Tenor - James Doherty [WORDS] |
| R | 11058-C-1-2 | 1926.06.22 | Sinking Of The Titanic – Singing, Harmonica and Guitar (Ernest V. Stoneman) The Blue Ridge Mountaineer [Ernest V. Stoneman] [WORDS] |
| L | 11055-C-1-1 | 1926.06.21 | Wreck Of The C. & O. (Or “George Alley”) Singing, Harmonica and Guitar (Ernest V. Stoneman) The Blue Ridge Mountaineer [Ernest V. Stoneman] [WORDS] |
| R | 11205-C-1-4 | 1926.09.16 | I'm Going To Park Myself In Your Arms - Fox Trot (Bobby Heath, Archie Fletcher and Alex. Marr) Duke Yellman And His Orchestra |
| L | 11204-B-1-4 | 1926.09.16 | That Night In Araby - Fox Trot (Billy Rose and Ted Snyder) Duke Yellman And His Orchestra [uncredited vocalist] [WORDS] |
| R | 11283-A-1-5 | 1926.11.05 | Fire! (An "Alarming" Novelty) Fox Trot (Byron Gay & Richard A. Whiting) Earl Oliver's Jazz Babies [Harry Reser's Orchestra] Vocal Refrain by Tom Howard [Tom Stacks] [SKIPS] [WORDS] |
| L | 11284-A-3-1 | 1926.11.05 | Cows! - Fox Trot (Phil Ponce-Edgar Leslie-Billy Stone) Earl Oliver's Jazz Babies [Harry Reser's Orchestra] Vocal Refrain by Tom Howard [Tom Stacks] [SKIPS] [WORDS] |
| R | 10468-C-1-13 | 1925.06.25 | Nearer My God To Thee (Lowell Mason) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10477-B-1-3 | 1925.06.27 | One Sweetly Solemn Thought (R. S. Ambrose) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11300-B-1-3 | 1926.11.12 | The Big Bass Viol (M. T. Bohannon) Basso - Gus Reed [WORDS] |
| L | 11343-C-1-4 | 1926.11.30 | Any Old Port In A Storm (Arthur J. Lamb and Kerry Mills) Basso - Gus Reed [WORDS] |
| R | 11356-A-4-1 | 1926.12.07 | To-Night You Belong To Me (Billy Rose and Lee David) Tenor - James Doherty [WORDS] |
| L | 11407-B-1-4 | 1926.12.30 | Oh! What I'd Give To Bring You Back (Henri Berchman, Herman Paley & Will Oakland) Tenor - Walter Scanlan [WORDS] |
| R | 11352-G-1-5 | 1926.12.06 | Moonlight on the Ganges (Chester Wallace & Sherman Myers) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11353-F-1-5 | 1926.12.06 | Hello Bluebird (Cliff Friend) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11415-A-1-3 | 1927.01.05 | Roses For Remembrance (Gus Kahn and Loyal Curtis) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11416-C-1-3 | 1927.01.05 | My Sweetheart Waltz (Harry Pease, Harold Veo & Ed. G. Nelson) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11427-C-1-4 | 1927.01.12 | The Little White House (At the End of Honeymoon Lane) from "Honeymoon Lane" (Eddie Dowling and James F. Hanley) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11428-C-1-4 | 1927.01.12 | Roses Remind Me Of You (Benny Davis, Al Sherman & Joe Burke) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11470-C-1-3 | 1927.01.26 | One Alone from "The Desert Song" (Otto Harbach-Oscar Hammerstein 2nd-Sigmund Romberg) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11472-C-3-1 | 1927.01.26 | Mary Lou (Abe Lyman-George Waggner-J. Russel Robinson) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11471-A-1-1 | 1927.01.26 | How I Love You I'm Tellin' The Birds - Tellin' The Bees (Lew Brown & Cliff Friend) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11473-A-1-1 | 1927.01.26 | Put Your Arms Where They Belong (For They Belong To Me) (Lou Davis-Henry Santly-Herman Ackman) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11508-B-1-3 | 1927.02.08 | Golden Showers (Ferera & Paaluhi) Waikiki Hawaiian Orchestra |
| L | 11509-B-1-3 | 1927.02.08 | Kona Waltz (Ferera & Paaluhi) Waikiki Hawaiian Orchestra |
| R | 11520-B-1-2 | 1927.02.14 | Take In The Sun, Hang Out The Moon (Sam Lewis-Joe Young-Harry Woods) Frederick Kinsley on the Midmer-Losh Pipe Organ - Vocal Chorus by Arthur Fields [WORDS] |
| 11521-C-1-3 | 1927.02.14 | Falling In Love With You (Benny Davis and Joseph Meyer) Frederick Kinsley on the Midmer-Losh Pipe Organ - Vocal Chorus by Arthur Fields [WORDS] |
| R | 11430-C-1-4 | 1927.01.12 | In The Cross of Christ I Glory -- The Strife Is O'er (Easter Hymn) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11429-C-1-4 | 1927.01.12 | Jesus Christ Is Risen To-Day (Easter Hymn) (Worgan) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11548-A-1-3 | 1927.03.03 | In A Little Spanish Town ('Twas on a Night Like This) (Lewis-Young-Wayne) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11549-C-1-4 | 1927.03.03 | My Daddy (Ted Strong) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11518-C-1-2 | 1927.02.14 | Cherie, I Love You (Cherie, Je T'Aime) (Lillian Rosedale Goodman) Tenor - Walter Scanlan - Organ Accompaniment by Frederick Kinsley on the Midmer-Losh Pipe Organ [WORDS] |
| L | 11519-A-1-2 | 1927.02.14 | The Song of Songs (Clarence Lucas-de Moya) Tenor - Walter Scanlan - Organ Accompaniment by Frederick Kinsley on the Midmer-Losh Pipe Organ [WORDS] |
| R | 11581-B-1-1 | 1927.03.17 | Take Your Finger Out Of Your Mouth (I Want A Kiss From You) Fox Trot (Joe Schuster and Duke Yellman) Duke Yellman And His Orchestra (Vocal Chorus by Joe Schuster) [WORDS] |
| L | 11582-B-1-3 | 1927.03.17 | Shanghai Dream Man--Fox Trot (Benny Davis and Harry Akst) Duke Yellman And His Orchestra (Vocal Chorus by Arthur Fields) [WORDS] |
| R | 11599-B-1-1 | 1927.03.23 | I'm Looking For A Girl Named Mary (Sam H. Stept) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11598-A-1-2 | 1927.03.23 | Calling (Raymond Klages and Ernie Golden) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11624-A-1-3 | 1927.04.03 | Muddy Water (Jo' Trent-Peter De Rose-Harry Richman) Frederick Kinsley on the Wurlitzer Organ |
| L | 11625-B-1-3 | 1927.04.03 | The Winding Trail (George Hayden and George P. Howard) Frederick Kinsley on the Wurlitzer Organ |
| R | 11655-B-1-1 | 1927.04.18 | Down The Lane (With You Again) (Raymond Klages & Larry Spier) Rollo Maitland on the Midmer-Losh Pipe Organ |
| L | 11656-C-1-3 | 1927.04.18 | At Sundown (When Love Is Calling Me Home) (Walter Donaldson) Rollo Maitland on the Midmer-Losh Pipe Organ |
| R | 11451-B-1-1 | 1927.01.19 | Face To Face (Herbert Johnson) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11452-A-1-1 | 1927.01.19 | Let The Lower Lights Be Burning (P. P. Bliss); God Be With You! (W. G. Tomer) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11752-A-1-6 | 1927.06.20 | Just An Ivy Covered Shack (Morey Davidson & Carl Rupp) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11751-B-1-4 | 1927.06.20 | When Day Is Done (B. G. De Sylva & Dr. Robert Katscher) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11663-C-1-4 | 1927.04.24 | Hold Me And Fold Me Close To Your Heart (Billy Heagney) Played by C. Sharpe-Minor on the Wurlitzer Organ |
| L | 11664-B-1-5 | 1927.04.24 | The Officer Of The Day March (R. B. Hall) Played by C. Sharpe-Minor on the Wurlitzer Organ |
| R | 10971-B-1-2 | 1926.05.11 | Scotch Reel (Calls by Benj. B. Lovett) Henry Ford's Old-Time Dance Orchestra [WORDS] |
| L | 10972-B-1-2 | 1926.05.11 | The Club Quadrille (Calls by Benj. B. Lovett) Henry Ford's Old-Time Dance Orchestra [WORDS] |
| R | 11450-C-1-1 | 1927.01.19 | What Shall The Harvest Be? (Miss Emily S. Oakey & P. P. Bliss) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11449-A-1-1 | 1927.01.19 | Rock Of Ages (Dr. Thos. Hastings); I Surrender All (W. S. Weeden) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11853-H-2-4 | 1927.08.24 | Bye-Bye, Pretty Baby – Fox Trot (Jack Gardner and Spike Hamilton) Joe Herlihy And His Orchestra with Vocal Trio [WORDS] |
| L | 11851-F-2-4 | 1927.08.23 | (Where Have You Been) All My Life? – Fox Trot from “Allez—Oop!” (Leo Robin, Philip Charig, Richard Myers) Duke Yellman And His Orchestra – Vocal Chorus by J. Donald Parker |
| R | 11944-A-1-6 | 1927.10.10 | Me And My Shadow (Al Jolson-Billy Rose-Dave Dryer) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 11943-C-1-5 | 1927.10.10 | C'Est Vous (It's You) (Ab. Green-Abner Silver-Harry Richman) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 11964-A-1-6 | 1927.10.18 | Dainty Miss--Novellette (Bernard Barnes) Murray Kellner's Dinner Music Ensemble |
| L | 11965-C-1-6 | 1927.10.18 | When You're In Love--Valse Sentimentale (Walter Donaldson & Walter Blaufuss) Murray Kellner's Dinner Music Ensemble |
| R | 11986-A-1-1 | 1927.10.27 | My Blue Heaven - Fox Trot (George Whiting and Walter Donaldson) Al Friedman And His "Yoeng's" Orchestra - Vocal Refrain by Vaughn De Leath [WORDS] |
| L | 11933-G-2-11 | 1927.10.25 | The Calinda - Fox Trot From "A La Carte" (Herman Hupfeld) Louis Lilienfeld With His Hotel Biltmore Orchestra |
| R | 11966-C-2-3 | 1927.10.18 | Christmas In Other Lands, Part 1 (Ancient Judea-England-France) Vaughn De Leath (The Radio Girl) [WORDS] |
| L | 11981-A-1-5 | 1927.10.25 | Christmas In Other Lands, Part 2 (Spain-Italy-Germany-United States) Vaughn De Leath (The Radio Girl) [WORDS] |
| R | 18025-C-1-3 | 1927.11.10 | When Day Is Done (B. G. DeSylva & Dr. Robert Katscher) The Edisonians [B. A. Rolfe and orchestra] |
| L | 18026-D-1-3 | 1927.11.10 | Just A Memory (B. G. DeSylva-Lew Brown-Ray Henderson) The Edisonians [B. A. Rolfe and orchestra] |
| R | 18144-B-1-6 | 1927.12.29 | Ev'rybody Loves My Girl (Sam Lewis-Joe Young-Maurice Abrahams) The Rollickers [WORDS] |
| L | 18143-A-1-6 | 1927.12.29 | Oh! Lucindy (Thekla Hollingsworth-Jessie L. Deppen) The Rollickers [WORDS] |
| ADVANCE NOTICE of NEW EDISON DISC RECORD RELEASES Weekly Bulletin no. 55 |
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| Ev'rybody Loves My Girl Male Voices - The Rollickers (Lewis, Young, Abrahams) Shapiro, Bernstein & Co., Inc. Oh! Lucindy Male Voices - The Rollickers (Thekla Hollingsworth, Jessie L. Deppens) Chappell-Harms, Inc. 52188 $1.00 Melodious pipe-organ chords, echoing chimes, and exuberant "Hallelujah's!" introduce Ev'rybody Loves My Girl--one of those very extravagant, slightly naughty, highly popular, tuneful descriptions of "the girl friend". As done by the Rollickers, it is hilarious fun, with glowing harmonies, riotous novelties and dazzling vocal interplay that tosses the melody expertly from one voice to another. . . . Oh! Lucindy is an appealing darky serenade that seems to be close on the heels of "Oh! Miss Hannah" in the general scramble for popular favor. |
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| R | 18047-H-1-4 | 1928.01.04 | Soldiers' Chorus - Faust (Ch. Gounod) Male Voices - Edison Male Chorus [WORDS] |
| L | 18048-C-2-2 | 1927.11.19/22 | Pilgrims' Chorus - Tannhauser (Richard Wagner) Male Voices - Edison Male Chorus [WORDS] |
| R | 18119-H-1-6 | 1928.01.07 | Mary Ann (Benny Davis and Abner Silver) Tenor - Walter Scanlan [WORDS] |
| L | 18118-H-2-5 | 1928.01.07 | Without You Sweetheart (B. G. De Sylva-Lew Brown-Ray Henderson) Tenor - Walter Scanlan [WORDS] |
| R | 18243-C-1-5 | 1928.02.17 | When You're With Somebody Else (Fox Trot with Vocal Chorus) (L. Wolfe Gilbert-Ruth Etting-Abel Baer) The Florida Four [WORDS] |
| L | 18244-B-1-5 | 1928.02.17 | Ramona - Waltz with Vocal Chorus (L. Wolfe Gilbert & Mabel Wayne) The Florida Four [WORDS] |
| R | 18367-B-1-2 | 1928.04.04 | Have You Ever Been In Ireland In April (George Spink) (Tenor) Walter Scanlan--Thompson B. Kerr at the Piano [WORDS] |
| L | 18366-B-1-1 | 1928.04.04 | When I Build A Home Of Me Own (Walter Scanlan) (Tenor) Walter Scanlan--Thompson B. Kerr at the Piano [WORDS] |
| R | 18431-A-1-5 | 1928.04.23 | Angel's Serenade (Gaetano Braga) Rollo Maitland on the Midmer-Losh Pipe Organ |
| L | 18432-B-1-5 | 1928.04.23 | Largo from "New World" Symphony (Anton Dvořák) Rollo Maitland on the Midmer-Losh Pipe Organ |
| R | 18348-C-1-4 | 1928.03.29 | Was It A Dream? (Sam Coslow-Larry Spier-Addy Britt) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 18347-C-2-3 | 1928.03.29 | Little Log Cabin Of Dreams (James F. Hanley & Eddie Dowling) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 18514-A-1-1 | 1928.05.18 | My Angel (Angela Mia) (Lew Pollack-Erno Rapée) Tenor – Victor Hall [WORDS] |
| L | 18515-B-1-1 | 1928.05.18 | Needing You (Thekla Hollingsworth) Tenor – Victor Hall |
| R | 18537-C-1-3 | 1928.05.26 | Because (Guy D'Hardelot) Rollo Maitland on the Midmer-Losh Pipe Organ |
| L | 18535-B-1-3 | 1928.05.26 | Ave Maria (Franz Schubert) Rollo Maitland on the Midmer-Losh Pipe Organ |
| R | 18626-A-3-1 | 1928.07.23 | Two Lips (To Kiss My Cares Away) - Fox Trot (Rose-Warren) Al Friedman And His Orchestra - Theo Alban [handwritten label] [WORDS] |
| L | 18627-A-1-2 | 1928.07.23 | Just A Night For Meditation - Fox Trot (Lewis-Young-Pollack) Al Friedman And His Orchestra - Theo Alban [handwritten label] [WORDS] |
| R | 18621-C-1-6 | 1928.07.19 | Laugh, Clown, Laugh (Lewis-Young-Ted Fiorito) Played by Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City |
| L | 18635-A-1-1 | 1928.07.25 | Just Like A Melody Out Of The Sky (Walter Donaldson) Played by Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City |
| R | 18645-A-1-2 | 1928.08.01 | Girl Of My Dreams (Sunny Clapp) Played by Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City - Vocal Chorus by Theo Alban [WORDS] |
| L | 18646-A-1-2 | 1928.08.01 | Come Back Chiquita (L. Wolfe Gilbert-Mabel Wayne) Played by Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City |
| R | 18696-B-1-3 | 1928.08.31 | Take Your To-Morrow (And Give Me To-Day) Fox Trot with Singing (Andy Razaf-J. C. Johnson) Piccadilly Players (Mel. Morris, Dir.) [WORDS] |
| L | 18695-A-1-5 | 1928.08.31 | Sonny Boy - Fox Trot with Singing (B. G. De Sylva-Lew Brown-Ray Henderson-Al Jolson) Piccadilly Players (Mel. Morris, Dir.) [WORDS] |
| R | 18781-B-1-3 | 1928.10.04 | Jeannine I Dream Of Lilac Time (L. Wolfe Gilbert-Nathaniel Shilkret) Organ Solo - Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City |
| L | 18780-C-1-4 | 1928.10.04 | My Angel (Angela Mia) (Erno Rapée-Lew Pollack) Organ Solo - Henrietta Kamern on the Möller Organ at Loew's Rio Theatre New York City |
| R | 18958-A-1-1 | 1928.12.21 | Where Is My Wand’ring Boy To-Night? (R. Lowry) Vernon Dalhart [WORDS] |
| L | 18959-B-1-1 | 1928.12.21 | The Ninety And Nine (Elizabeth C. Clephane-Ira D. Sankey) Duet - Adelyn Hood And Vernon Dalhart [WORDS] |
| R | 19108-B-1-5 | 1929.03.16 | A Precious Little Thing Called Love – Fox Trot with Vocal Chorus (Lou Davis-J. Fred Coots) Golden Gate Orchestra [WORDS] |
| L | 19110-B-1-5 | 1929.03.18 | Dream Train – Fox Trot with Vocal Chorus (Charles Newman-Billy Baskette) Golden Gate Orchestra [WORDS] |
| R | 5188-B-2-5 | 1916.12.01/4 | Das ist der Tag des Herrn! (Kreutzer) In Deutsch - Manhattan Male Quartett [WORDS] |
| L | 5289-B-2-7 | 1917.01.08/18 | Junger Herr (Franz Wagner) In Deutsch - Manhattan Male Quartett |
| R | 18163-C-1-1 | 1928.01.11 | Bolero (Paco Lucena) Rondalla Uzandizaga (Spanish String Ensemble) |
| L | 18164-B-1-1 | 1928.01.11 | 'Olé Las Mujeres! Paso Doble (Oh Those Girls!) (M. Romero) Rondalla Uzandizaga (Spanish String Ensemble) |
| R | 5524-C-2-1 | 1917.04. | Mit Gewitter Und Sturm (Der Fliegende Holländer) (Wagner) (Tenor in German) Karl Jörn [WORDS] |
| L | 8497-C-3-1 | 1922.06.21 | 'Elisabeth’s Gebet (Tannhäuser) (Wagner) (Soprano in German) Marie Rappold [WORDS] |
| R | 3797-C-5-20 | 1915.05. | Hear Me, Norma (Bellini) Flute and Clarinet with orchestra - Julius Spindler and Anthony Giammatteo |
| L | 2858-C-1-2 | 1914.03. | La Paloma--Spanish Serenade (Yradier) American Symphony Orchestra |
| R | 1041-A-1-7 | 1912.05.23/5 | "Beautiful Isle of Somewhere" (J. S. Fearis) Tenor and baritone with mixed chorus - Orchestra Accompaniment [John Young ("Harry Anthony") / Frederick J. Wheeler ("James F. Harrison") / Edison Mixed Quartette] [WORDS] |
| L | 1287-C-2-2 | 1912.09.20 | "Kathleen Mavourneen" (F. W. N. Crouch) Baritone solo - Orchestra Accompaniment [Thomas Chalmers] [WORDS] |
| R | 1083-B-4-15 | 1912.06.17/8 | The Skater Waltz (Waldteufel) American Symphony Orchestra |
| L | 1306-B-3-15 | 1912.10.10/4 | Wine, Woman and Song - Waltz (Johann Strauss) American Symphony Orchestra |
| 80076-R SKATERS WALTZ - Emil Waldteufel REED AND BRASS ORCHESTRA "LES PATINEURS," or "The Skaters" is one of the best of the many waltzes that Waldteufel has written. It consists of several different waltz melodies, each of exceptional beauty and interest, the whole intended to depict a party of ice-skaters making merry. The first melody is of a gliding smoothness of rhythm, which is shortly followed by rapid chords, denoting the bells of a passing sleigh. Emil Waldteufel was born at Strasburg, December 9th, 1837. He displayed a considerable talent for music early in his life, and became a pupil of the Paris Conservatoire under Marmontel and Laurent. His first pieces were published at his own expense, and they were such a success that he was enabled to devote himself to composition exclusively, and become a most prolific writer. Waldteufel has written many pieces for pianoforte solo, melodies for piano and voice, but his greatest fame has come from his dance compositions. His style is typically French; his waltzes are graceful, elegant and charming. Among the many hundreds of these beautiful waltzes that he has written may be named "Love and Spring," "Angel of Love," "Dolores" and "Sweet Remembrance." |
80076-L WINE, WOMAN AND SONG WALTZ - Johann Strauss STRING ORCHESTRA Johann Strauss was born at Vienna on March 14th, 1804, and died there in 1849. In 1819 he obtained his first engagement as a violinist in a small band then playing at the Sperl, in the Leopoldstadt, and after acting as conductor in another orchestra, he organized in 1825, a little band of fourteen performers on his own account. It was during the carnival of 1826 that Strauss inaugurated a long line of triumphs by introducing his band to the public of Vienna at the Schwan, where his famous "Tauberl-Walzer" (Opus 1) at once established his reputation as the best composer of dance music then living. Soon after this he was appointed Kapellmeister to the first Bürger regiment. During his all too short life he raised himself upon the very pinnacle of popularity in his native country, and earned a world wide fame. As an orchestra leader he furnished enjoyment for thousands, while by his compositions he raised dance music to a higher level than it had ever reached before, and invested his copious melodies with all the charm of brilliant instrumentation. He wrote more than a hundred and fifty waltzes, of which "Wine, Woman and Song" is a good example. |
| R | 2221-L-1-6 | 1913.04.11 | Light Calvary Overture (Franz V. Suppé) Edison Concert Band |
| L | 2787-H-5-3 | 1914.p | La Danseuse—Intermezzo (Franz von Blon) American Symphony Orchestra |
| R | 2173-B-3-21 | 1913.03.11 | Annie Laurie (Lady John Scott) Mixed voices with orchestra – Metropolitan Quartet [WORDS] |
| L | 4428-A-3-69 | 1916.01. | Call Me Your Darling Again (J. P. Skelly) Soprano and chorus with orchestra – Elizabeth Spencer [WORDS] |
| R | 3543-G-2-15 | 1915.01 | The Rosary (Ethelbert Nevin) (Contralto and chorus with orchestra) Christine Miller [WORDS] |
| L | 2115-H-5-3 | 1913.p | When the Robins Nest Again (Howard) (Soprano with orchestra) Charlotte Kirwan [WORDS] |
| R | 2188-C-1-1 | 1913.03.18/9 | Come Back to Erin (Claribel) (Mixed voices with orchestra) Metropolitan Quartet [WORDS] |
| L | 2356-A-1-6 | 1913.07.01 | Lullaby--Erminie (Ed. Jakobowski) (Soprano and chorus with orchestra) Elizabeth Spencer [WORDS] |
| R | 2334-C-3-51 | 1913.06.16 | Just Before The Battle, Mother (Geo. F. Root) Tenor and chorus [Walter Van Brunt] - Orchestra Accompaniment [WORDS] |
| L | 2149-A-3-40 | 1913.02.20 | Won't You Write A Letter, Papa (Charles Miller) Tenor and chorus [Walter Van Brunt] - Orchestra Accompaniment [WORDS] |
| R | 2581-A-6-1 | 1913.11.21 | One Sweetly Solemn Thought (R. S. Ambrose) (Baritone and Chorus with Orchestra) Thomas Chalmers [WORDS] |
| L | 2523-C-6-5 | 1913.10.27 | Lead, Kindly Light (John H.(B.) Dykes) (Mixed Voices with Orchestra) Metropolitan Quartet [WORDS] |
| R | 5576-C-1-1 | 1917.05.21/8 | William Tell Overture-Part 1 [At Dawn & The Storm] (G. Rossini) Sodero's Band |
| L | 5577-C-1-1 | 1917.05.21/8 | William Tell Overture-Part 2 [The Calm & Finale] (G. Rossini) Sodero's Band |
| R | 2661-C-4-2 | 1913.12.26 | In The Gloaming (Annie Fortescue Harrison) Tenor and Chorus with Orchestra - Emory B. Randolph [WORDS] |
| L | 2873-A-2-7 | 1914.03. | When The Twilight Comes To Kiss The Rose Good Night (Henry W. Petrie) Contralto and Baritone with Orchestra - Helen Clark and Vernon Archibald [WORDS] |
| R | 3087-G-3-9 | 1922.12.20 | I'll Take You Home Again, Kathleen (Thomas P. Westendorf) Tenor and Chorus with Orchestra - Walter Van Brunt [WORDS] |
| L | 3117-H-4-8 | 1922.12.20 | On the Banks Of The Brandywine (Anatol Friedland) Tenor with Orchestra - Walter Van Brunt - Soprano Obbligato by Elizabeth Spencer [WORDS] |
| R | 3080-C-4-135 | 1914.05/06 | America (My Country 'tis of Thee) [attributed to Henry Carey and Samuel Francis Smith] Mixed Quartet [Metropolitan Quartet] Orchestra Accompaniment [WORDS] |
| L | 3083-C-3-68 | 1914.06.05 | The Star Spangled Banner [John S. Smith and] (Francis Scott Key) Baritone and Chorus [Thomas Chalmers] Orchestra Accompaniment [WORDS] |
| R | 3059-C-3-66 | 1914.05. | Ring on Sweet Bells (Geo. B. Nevin) Baritone and Tenor [Royal Fish, Vernon D. Archibald] Orchestra Accompaniment [WORDS] |
| L | 3058-B-2-6 | 1914.05. | A Song of Steel (Charles Gilbert Spross) Baritone solo [Donald Chalmers] Orchestra Accompaniment [WORDS] |
| R | 2504-C-2-40 | 1913.10.21 | Maritana Overture Part I (W. V. Wallace) Band [New York Military Band] |
| L | 3071-C-2-19 | 1914.05/06 | Maritana Overture Part II (W. V. Wallace) Band [New York Military Band] |
| R | 3326-A-1-3 | 1914.10.02 | The Birthday Of A King (W. H. Neidlinger) Baritone and Chorus - Thomas Chalmers [WORDS] |
| L | 3354-B-3-5 | 1914.10 | Ring Out The Bells For Christmas (Williams) Mixed Voices - Metropolitan Quartet [WORDS] |
| R | 3112-B-1-6 | 1914.06. | Pique Dame Overture--Part 1 (F. Von Suppé) Band [Edison Concert Band] |
| L | 3113-C-3-3 | 1914.06. | Pique Dame Overture--Part 2 (F. Von Suppé) Band [Edison Concert Band] |
| R | 3451-C-3-4 | 1914.11. | My Lady Of The Telephone--N.Y. Winter Garden--"Dancing Around" (Jean Gilbert) Baritone and chorus with orchestra - Joseph A. Phillips [WORDS] |
| L | 7859-A-4-5 | 1921.03.22/3 | Goodbye, Girls I'm Through - Chin Chin (Ivan Caryll) Baritone and Chorus of Girls with Orchestra - Joseph Phillips [WORDS] |
| R | 3454-C-7-5 | 1914.11. | Peer Gynt--Suite No. 1 Part 1 - "Morning" Part 3 - "Anitra's Dance" (E. Grieg) [Sodero's] Band |
| L | 3457-A-2-12 | 1914.11/12 | Peer Gynt--Suite No. 1 Part 2 - "Ase's Death" Part 4 - "In the Hall of the Mountain King" (E. Grieg) [Sodero's] Band |
| R | 3609-C-5-16 | 1915.02.24/5 | There's a Little Spark of Love Still Burning (Fred Fischer) Tenor and chorus - Orchestra Accompaniment - [Walter van Brunt] [WORDS] |
| L | 3540-A-3-31 | 1915.01 | You're Plenty Up To Date For Me (Walter van Brunt) Tenor Solo - Orchestra Accompaniment - [Walter van Brunt] [WORDS] |
| R | 3732-B-1-3 | 1915.04. | Song Of The Chimes (Lola Carrier Worrell) Contralto with Orchestra - Beatrice Flint-Collin [WORDS] |
| L | 3802-A-3-1 | 1915.05. | Sweet Spirit, Hear My Prayer (Wm. Vincent Wallace) Soprano and Chorus with Orchestra - Elizabeth Spencer [WORDS] |
| R | 3905-B-1-22 | 1915.06.23/30 | Pirates of Penzance Airs No. 1 (Gilbert and Sullivan) New York Light Opera Co. [WORDS] |
| L | 3906-C-4-12 | 1915.06.23/30 | Pirates of Penzance Airs No. 2 (Gilbert and Sullivan) New York Light Opera Co. [WORDS] |
| R | 3350-C-6-159 | 1914.10. | "When Irish Eyes are Smiling" The Isle O'Dreams (Ball) Tenor Solo [Walter Van Brunt] - Orchestra Accompaniment [WORDS] |
| L | 4223-A-1-46 | 1915.10.21/31 | Where the River Shannon Flows (James I. Russell) Tenor and Chorus with Orchestra - Walter Van Brunt [WORDS] |
| R | 4084-A-2-27 | 1915.09.01 | Abide With Me (Monk) Soprano and Baritone with Orchestra - Elizabeth Spencer and Thomas Chalmers [WORDS] |
| L | 3728-C-3-25 | 1915.04. | When the Roll is Called up Yonder (J. M. Black) Tenor, Baritone and Mixed Quartet - John Young and Frederick J. Wheeler [WORDS] |
| R | 4126-C-1-1 [2-1] | 1915.09. | (A) There Were Shepherds (B) Chorus - Glory To God - Messiah (Handel) (Soprano and Chorus, with Orchestra) Anita Rio [WORDS] |
| L | 4040-A-13-5 | 1915.08. | Open The Gates Of The Temple (Fanny Crosby & Mrs. Joseph F. Knapp) (Tenor) Hardy Williamson (Charles Hart, 9829 on paper label) [WORDS] |
| R | 4433-C-118 | 1916.01. | Hallelujah Chorus--Messiah (Handel) Mixed voices with orchestra - Oratorio Chorus [WORDS] |
| L | 4254-A-126 | 1915.11. | Gloria--Twelfth Mass (Mozart) Mixed Voices with Orchestra - In Latin - Gregorian Choir |
| R | 3764-C-2-66 | 1915.05. | Mother Machree (Olcott-Ball) Tenor with Orchestra - Walter Van Brunt [WORDS] |
| L | 4168-A-12-3 | 1915.10. | My Wild Irish Rose (Olcott) Tenor with Orchestra - Walter Van Brunt[WORDS] |
| R | 4372-A-6-6 | 1915.12. | Serenade - Les Millions D'Arlequin (Drigo) Armand Vecsey and His Hungarian Orchestra |
| L | 4357-AC-4-3 | 1915.12. | Pretty Edelweiss - Alone At Last (Franz Lehar) Armand Vecsey and His Hungarian Orchestra |
| R | 2951-H-2-1 [7-1] | 1914.04.09/15 | My Old Kentucky Home (S. Foster) Baritone and Chorus with Orchestra - Thomas Chalmers [WORDS] |
| L | 4382-A-8-3 | 1915.12.29/31 | Come Where The Lilies Bloom (Will L. Thompson) Mixed Voices with Orchestra - Metropolitan Quartet [WORDS] |
| R | 4699-A-101 | 1916.05.01/3 | Last Night (Halfdan Kjerulf) Contralto with orchestra – Amy Ellerman [WORDS] |
| L | 3299-H-5-190 | 1914.09 | The Last Rose of Summer – Martha (Moore-Flotow) Soprano and chorus with orchestra – Elizabeth Spencer [WORDS] |
| R | 5043-B-15-3 | 1916.10.01/6 | Poet and Peasant Overture-Part 1 (F. von Suppe) American Symphony Orchestra |
| L | 5044-C-3-2 | 1916.10.01/6 | Poet and Peasant Overture-Part 2 (F. von Suppe) American Symphony Orchestra |
| R | 4793-C-13-2 | 1916.06.14/9 | God Be With You Till We Meet Again (Tomer) (Mixed Voices with Orchestra) Metropolitan Quartet [WORDS] |
| L | 4810-C-15-57 | 1916.06.21/2 | I Surrender All (W. S. Weeden) (Mixed Voices with Orchestra) Metropolitan Quartet [WORDS] |
| R | 5263-C-8-72 | 1917.01.01/9 | Loch Lomond (Old Scotch Song) Contralto with orchestra - Marie Morrisey [WORDS] |
| L | 5283-A-6-29x | 1917.01.08/17 | All Through The Night (Old Welsh Air) Soprano with orchestra - Betsy Lane Shepherd [WORDS] |
| R | 5294-C-8-106 | 1917.01.08/18 | Shall We Gather At The River (Rev. Robert Lowry) Mixed voices with orchestra – Metropolitan Quartet [WORDS] |
| L | 5488-C-7-124 | 1917.04.02/5 | All Hail The Power Of Jesus’ Name (Oliver Holden) Mixed voices with orchestra – Metropolitan Quartet [WORDS] |
| R | 5497-B-8-3 | 1917.04.09/11 | Midsummer Night’s Dream—Nocturne (F. Mendelssohn) American Symphony Orchestra |
| L | 5498-B-1-2 | 1917.04.09/11 | Midsummer Night’s Dream—Intermezzo (F. Mendelssohn) American Symphony Orchestra |
| R | 5637-C-6-1 | 1917.06.2 | Old Jim's Christmas Hymn (W. B. Gray) Baritone and Chorus with Orchestra – Edward Allen [Arthur Middleton] [WORDS] |
| L | 5634-B-5-2 | 1917.06.18/20 | The Star Of Bethlehem (Stephen Adams) Tenor with Orchestra – Vernon Dalhart [WORDS] |
| R | 5849-A-2-45 | 1917.10. | Camp Songs, U. S. Army—No. 1 Chorus Of Male Voices [WORDS] |
| L | 5851-C-4-153 | 1917.10. | Camp Songs, U. S. Army—No. 2 Chorus Of Male Voices (SKIPS) [WORDS] |
| R | 5853-C-9-5 | 1917.10. | Dixieland Memories No. 1 - The Orpheus Male Chorus [WORDS] |
| L | 5859-C-6-109 | 1917.10. | Dixieland Memories No. 2 - The Orpheus Male Chorus [WORDS] |
| R | 5941-B-1-5 | 1917.12. | Rigoletto Selection--Part 1 (G. Verdi) American Symphony Orchestra |
| L | 5940-C-1-6 | 1917.12. | Rigoletto Selection--Part 2 (G. Verdi) American Symphony Orchestra |
| R | 6123-A-3-90 | 1918.04. | Just A Baby's Prayer At Twilight (M. K. Jerome) Female voices with orchestra - The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] [WORDS] |
| L | 5944-F-3-88 | 1918.04. | Lorraine (My Beautiful Alsace-Lorraine) (Fred Fisher) Tenor and chorus with orchestra - Vernon Dalhart [WORDS] |
| R | 4092-H-6-72 | 1915.09. | Second Mazurka (Benjamin Godard) (Piano Solo) Andre Benoist |
| L | 6077-B-13-59 | 1918.03. | Fantaisie-Impromptu (F. Chopin, Op. 66) (Piano Solo) Andre Benoist |
| R | 3563-A-4-8 | 1915.02.03/8 | When I’m Gone You’ll Soon Forget (R. Austen Keith) (Tenor and Contralto with orchestra) Walter Van Brunt and Helen Clark [WORDS] |
| L | 5481-B-5-15 | 1917.03.29/31 | Ole Virginny Days (Wm. H. Gardner-Theo. Morse) (Female voices with orchestra) The Homestead Trio [WORDS] |
| R | 5126-A-2-49 | 1916.10/11 | The Ninety and Nine (Ira D. Sankey) (Contralto with orchestra) Christine Miller [WORDS] |
| L | 5305-A-3-120 | 1917.01.18/24 | The Church In The Wildwood (Dr. Wm. S. Pitts) (Male Voices with Organ Accompaniment) Apollo Quartet of Boston [WORDS] |
| 80416-R THE NINETY AND NINE - Ira D. Sankey CHRISTINE MILLER - CONTRALTO Ira D. Sankey was probably the most prolific and well-known writer of hymns who ever lived. Certainly no one of recent years has ever equalled his many compositions that have attained immortality. One of his best-known pieces is "The Ninety and Nine" given here by Christine Miller. Miss Miller's charming voice is perfectly suited to this type of melody and all her many admirers will agree that she is heard to very good advantage. She has been heard in a wide variety of different types of songs, but seldom has she rendered one of this present style. |
80416-L THE CHURCH IN THE WILDWOOD - Dr. Wm. S. Pitts APOLLO QUARTET OF BOSTON - MALE VOICES This is one of the most impressive and inspiring male quartet sacred numbers ever recorded. The Apollo Quartet of Boston is a musical organization well known in this country for nearly two decades. It was founded in Boston in 1888 and always has maintained an exceptionally high musical standard. During the past nineteen years it has been in existence the personnel, of course, has changed, but for the past five years the organization has remained intact. Wherever the Apollo Quartet has been heard, it has received the most enthusiastic praise from critics, and it plays repeat engagements year after year in many leading musical centers. |
| R | 6146-A-4-7 | 1918.04. | My Heart At Thy Sweet Voice - Samson and Delilah (C. Saint-Saëns) Violin, Violoncello and Piano - The Fleming Trio |
| L | 6145-B-3-4 | 1918.04. | Serenade (Fr. Schubert-Liszt) Violin, Violoncello and Piano - The Fleming Trio |
| R | 6288-B-2-24 | 1918.07. | (a) Menuet in G (Beethoven) (b) Largo--Xerxes (Handel) Violin solo - Joel Belov - Pianoforte by Robert Gayler |
| L | 6289-B-14-19 | 1918.07. | Air for G String (Bach) Violin solo - Joel Belov - Pianoforte by Robert Gayler |
| R | 6325-C-2-76 | 1918.08.06 | When You Come Back And You Will Come Back, There's the Whole World Waiting for You (George M. Cohan) Male voices with orchestra - Premier Quartet [Billy Murray, tenor; John Young, tenor; Steve Porter, baritone; and Donald Chalmers, bass] [WORDS] |
| L | 6254-C-4-74 | 1918.07.01/5 | Smiles (Lee S. Roberts) Mixed voices with orchestra - The Harmony Four [WORDS] |
| R | 6129-A-25 | 1918.04. | Barcarolle - The Tales Of Hoffmann (Offenbach) Violin, Cello and Piano - Leo, Jan and Mischel Cherniavsky |
| L | 6127-C-27-52 | 1918.04. | Andante Religioso (Francis Thome, Op. 70) Violin, Cello and Piano - Leo, Jan and Mischel Cherniavsky |
| R | 6128-A-1-4 | 1918.04. | (a) Anitra’s Dance (Grieg) (b) At The Brook (René de Boisdeffre, Op. 52) Violin, Violincello, and Piano – Leo. Jan and Mischel Cherniavsky |
| L | 6130-C-3-3 | 1918.04. | Spring Song (F. Mendelssohn, Op.62, No. 6) Violin, Cello, and Piano – Leo. Jan and Mischel Cherniavsky |
| R | 6408-C-22-82 | 1918.10.10/23 | The Rose Of No Man's Land (Caddigan-Brennan) Soprano, Tenor and Bass with orchestra – The Moonlight Trio [WORDS] |
| L | 6041-A-5-133 | 1918.02. | When The Ships Come Home—Oh Lady! Lady!! (Jerome Kern) Contralto and chorus of girls with orchestra – Helen Clark [WORDS] |
| R | 5830-B-11-5 | 1917.10.02/4 | Katy Mahone (Chauncey Olcott) Male voices with orchestra - Shannon Quartet [WORDS] |
| L | 5066-C-6-73 | 1916.10. | The Low-Back'd Car (Samuel Lover) Tenor with orchestra - Walter Van Brunt [WORDS] |
| R | 6661-A-2-2 | 1919.03.15/31 | Beautiful Ohio (Mary Earl) (Mixed Voices with Orchestra) Metropolitan Quartet [WORDS] |
| L | 6682-A-1-7 | 1919.03.15/31 | Alabama Lullaby (Cal De Voll) (Soprano and contralto with orchestra) Gladys Rice and Marion Evelyn Cox [WORDS] |
| 80465-R BEAUTIFUL OHIO Earl METROPOLITAN QUARTET - MIXED VOICES CANOEING on the river, under a big, round moon is dangerous business. Remember the last time you did it? You'll remember even more vividly when you hear this RE-CREATION. A swaying waltz rhythm--a dreamy, crooning melody--—sympathetic voices singing about "drifting in the moonlight." Whether you ever drifted on the Beautiful Ohio or not, doesn't matter. You'll get a reminiscent thrill from the song. |
80465-L ALABAMA LULLABY - De Voll GLADYS RICE AND MARION EVELYN COX - SOPRANO AND CONTRALTO GLADYS RICE and Marion Evelyn Cox are two of the littlest girls who ever sang a duet. Both of them together hardly weigh two hundred pounds. But when it comes to music they're there! This lullaby has all the balmy sweetness of a warm Southern night. It has the plaintiveness of the "Swanee Ribber." It carries you smoothly away to a drowsy pleasure land, where you float in day dreams, at peace with the world. |
| R | 6437-C-9-135 | 1918.11.01/4 | A Dusky Lullaby (Hallett Gilberte) Female voices with orchestra - The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] [WORDS] |
| L | 6668-C-9-34 | 1919.03.15/20 | The Glowworm (Paul Lincke) Female voices with Orchestra - We Girls Quartet [Gladys Rice, Betsy Lane Shepherd, Marion Evelyn Cox, Amy Ellerman] [WORDS] |
| R | 6169-C-9-23 | 1918.05. | (a) Little Tommy Went A Fishing (J. C. Macy) (b) The Musical Trust (Henry Hadley, Op. 67, No. 2) Male Voices Unaccompanied - The Criterion Quartet [WORDS] |
| L | 5565-C-6-22 | 1917.05.10/7 | Out On The Deep (Frederic N. Lohr) Bass with orchestra - Donald Chalmers [WORDS] |
| 80483-R LITTLE TOMMY WENT A FISHING - Macy MUSICAL TRUST - Hadley CRITERION QUARTET- MALE VOICES The work of the Criterion Quartet is exceptionally meritorious in these selections of real, honest-to-goodness humor. Mirth provoking are their really worthwhile imitations of the instruments of the band in the "Musical Trust." Another smile a day is worth much to anyone and these numbers certainly are smile provokers. The Criterion Quartet has a high reputation for the excellent character of their work and admirable blending of voices into harmony supreme. |
80483-L OUT ON THE DEEP Löhr DONALD CHALMERS - BASS "Out on the Deep" gives full scope to the display of the power and possibilities of the bass voice. It is one of those characteristic bass songs of the sea, but is superior in its melody and the opportunities it offers for the singer. Donald Chalmers began his career as a boy soloist with a church choir in Pittsburgh. He is a church soloist in New York City, and has made extensive American tours. |
| R | 4843-C-11-103 | 1916.07.03/18 | Home Sweet Home (Payne-Bishop) Soprano with orchestra - Betsy Lane Shepherd [WORDS] |
| L | 5075-G-3-93 | 1916.10.p | Calm as the Night (Carl Bohm) Soprano with orchestra - Betsy Lane Shepherd [WORDS] |
| R | 6808-C-7-89 | 1919.05.26/7 | Memories Of You In Dear Hawaii (J. A. MacMeekin) Male voices with orchestra - The Lyric Male Quartet [WORDS] |
| L | 6769-B-75 | 1919.05.02/7 | By The Babbling Brook (Ring-Hager) Whistling and singing with orchestra - Sibyl Sanderson Fagan and Lewis James [WORDS] |
| R | 6811-A-4-32 | 1919.05.29 | Smilin' Through (Arthur A. Penn) Baritone with orchestra - Thomas Chalmers [WORDS] |
| L | 5936-C-3-6 | 1917.12. | Baby Mine (A. Johnston) Soprano and chorus with orchestra - Betsy Lane Shepherd [WORDS] |
| 80506-R BABY MINE - Johnston BETSY LANE SHEPHERD - SOPRANO AND CHORUS "BABY MINE" is a favorite lullaby, a witching melody for the cradle hour. To its crooning refrain, many a little one has journeyed to the vale of dreams and enjoyed the happiest hours with rocking horses, rag dolls and all the wonderful toys that must abound in a baby's slumberland. Because Mrs. Betsy Lane Shepherd has crooned many a lullaby to brighten the play hours of her own in slumberland, she sings this cradle song with all the heartfelt sympathy, the tenderness and expression of the purest love that only a mother may know. |
80506-L SMILIN' THROUGH - Penn THOMAS CHALMERS - BARITONE TWO short peerless verses, engaging from the initial measure, impress one with the beautiful thought in this elevating musical picture, "Smilin' Through." Mr. Chalmers, of the Metropolitan Opera Company, and one of the most consummate dramatic actors on the operatic stage, sings this simple melody sweetly and with all the understanding we have learned to expect from an artist of his reputation. Of the embellishments introduced in the accompaniment, the harp figuration toward the end of the performance is the feature. |
| R | 6243-A-2-5 | 1918.06.21 | Columbia, The Gem of the Ocean (Red, White, and Blue) Baritone and Mixed Voices with orchestra – Thomas Chalmers [WORDS] |
| L | 7174-C-2-3 | 1920.02.17/23 | Farewell Marguerite (Geo. Boardman) Tenor with orchestra – Albert Lindquest [WORDS] |
| R | 6958-C-3-1 | 1919.10. | When the Corn Is Waving (Blamphin-Buck) Male Voices Unaccompanied - Criterion Quartet [WORDS] |
| L | 5479-C-4-3 | 1917.03.29 | Aloha Sunset Land (Ioane Kawelo) Female Voices with Orchestra - The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] [WORDS] |
| 80514-R WHEN THE CORN IS WAVING - Blamphin-Buck CRITERION QUARTET - MALE VOICES For many years "When the Corn Is Waving" has been a favorite with harmony fours, whether they have been of the quartet type that graces the barber shop and corner store of the small town, or featured quartets of the concert platform. The song offers the best of opportunities for the display of good voice harmony. Blamphin, the composer, was a contemporary of Stephen Foster. This arrangement is by Dudley Buck. No better arrangement of this famous song has been offered than this as sung by the well-known Criterion Quartet. |
80514-L ALOHA SUNSET LAND - Kawelo HOMESTEAD TRIO - 1ST SOPRANO, 2ND SOPRANO, ALTO "Aloha Sunset Land" is a welcome ballad RE-CREATION. The lyric tells a story of the beautiful, verdant, sun-kissed island possession of the United States. The composer, Ioane Kawelo, has delightfully innoculated the theme with a delicate flavor of the pleasing characteristic music of Hawaii. One of the most popular of trios is the Homestead Trio, which here offers one of its best renditions. |
| R | 5883-C-1-1 | 1917.11. | Phedre Overture--Part 1 (J. Massenet) American Symphony Orchestra |
| L | 5884-C-4-23 | 1917.11. | Phedre Overture--Part 2 (J. Massenet) American Symphony Orchestra |
| 80515-R PHÈDRE OVERTURE, PART 1 - Massenet AMERICAN SYMPHONY ORCHESTRA THE gracefulness and prettiness of Massenet's compositions are well represented in this rendition of his overture to "Phédre." Critics have repeatedly said that the compositions of this versatile Frenchman were weak and without sufficient merit to enable them to live long after his death. He has been criticized as a writer without an ideal and with only one anticipation in the development of his work, that of immediate success by pleasing the whims of popular demand. However, the success of Massenet has not materially waned despite the predictions of his many critics. |
80515-L PHÈDRE OVERTURE, PART 2 - Massenet AMERICAN SYMPHONY ORCHESTRA JULES Massenet was born at Montaud, France, in 1842, and was educated at the Paris Conservatoire. He composed the "Phédre" overture in 1876, after he had become the most prominent of the younger French composers. His popularity brought for him an officer-ship in the Légion d'Honneur. He was the youngest person ever chosen to membership in the Acádemie des Beaux-Arts. Massenet's numerous dramatic works were very popular with the Parisian audiences of his time, for whose approval his operas were written. |
| R | 5777-C-2-5 | 1917.09. | Saul Overture--Part 1 (Antonio Bazzini) American Symphony Orchestra |
| L | 5778-C-3-7 | 1917.09. | Saul Overture--Part 2 (Antonio Bazzini) American Symphony Orchestra |
| 80518-R SAUL OVERTURE, PART 1 - Bazzini AMERICAN SYMPHONY ORCHESTRA THIS much admired symphonic overture was first played at Milan, Italy, in 1880. "Saul" displays all the graceful beauty and charming melodies that marked the works of Antonio Bazzini, the well known Italian violinist and composer. "Saul" displays in its theme progression the influence of the Italian temperament. The skilled workmanship exhibited in the construc- |
80518-L SAUL OVERTURE, PART 2 - Bazzini AMERICAN SYMPHONY ORCHESTRA tion of "Saul" illustrates the influence of the German school on Bazzini. During his earlier life, Bazzini achieved renown as a concert artist in the principal cities of Europe. He received a professorship at the Milan Conservatory in 1873 and in 1882 became director of the school. He died in Milan in 1897. |
| R | 5527-A-7-1 | 1917.04. | We Strongly Now Will Try Together--La Fille de Madame Angot (Ch. Lecocq) (Soprano and tenor with orchestra) Gladys Rice and Vernon Dalhart [WORDS] |
| L | 4941-A-4-9 | 1916.08.22/31 | Annie Laurie (Arr. by Adam Geibel) (Male Voices Unaccompanied) Criterion Quartet [WORDS] |
| R | 4909-C-8-16 | 1916.07.26 | List! The Cherubic Host—The Holy City (A. R. Gaul) Baritone and chorus of female voices with orchestra – Thomas Chalmers [WORDS] |
| L | 5300-C-1-7 | 1917.01.18 | In The Garden (G. Austin Miles) Male voices with orchestra – Apollo Quartet of Boston [WORDS] |
| R | 6838-C-19-40 | 1919.06.1 | Singing To You (U. S. Kerr) Tenor with Orchestra - Karl Jorn [WORDS] |
| L | 6923-C-24-45 | 1919.09.03 | La Zingarella (N. de Giosa) Soprano with Orchestra (In Italian) Virginia Rea |
| R | 6774-C-3-1 | 1919.05.07/14 | Luxembourg Waltz – Count of Luxembourg (Lehar) Whistling solo – Sibyl Sanderson Fagan (SKIPS) |
| L | 6110-C-1-3 | 1918.04. | The Ambassador Polka (F. H. Losey) Cornet with orchestra – Bohumir Kryl (SKIPS) |
| R | 6103-C-1-9 | 1918.04.04/5 | Where the River Shannon Flows (James I. Russell) (Cornet Solo) Bohumir Kryl (Harp Accompaniment by Paul Suerth) |
| L | 7376-A-1-6 | 1920.06.01/7 | Velma--Capriccio (Leon Rosebrook) (Saxophone with Orchestra) Rudy Wiedoeft |
| THE SAXOPHONE | |||
| Do you know the wonderfully mellow, caressing tones of
the C Melody Saxophone? Can you identify them when they are being played in concert with other instruments
of the orchestra? Investigation shows the Saxophone to be a reed instrument, tone-controlled by a series of keys. Invented about the year 1840 by Adolphe Sax. Later introduced into the splendid French Military Bands, where its value soon was recognized, and |
where it received its greatest development. Composers of the finer classes of new music are employing the Saxophone in their instrumentations, and gradually it is taking a legitimate place among the established instruments of the best concert orchestras. The Saxophone tones record well, as may readily be verified by listening to the following Edison Re-Creations, all of which are available in any local Edison Dealer's stocks. |
||
| R | 7411-B-1-7 | 1920.06.1 | Over The Waves Waltz (Juventino Rosas) Peerless Orchestra (SKIPS) |
| L | 7412-B-1-6 | 1920.06.1 | Scented Violets (Jules Reynard) Peerless Orchestra (SKIPS) |
| R | 7453-B-1-4 | 1920.07. | What A Friend We Have In Jesus (Charles G. Converse) Mixed Voices with Organ - Metropolitan Quartet [WORDS] |
| L | 7450-A-1-6 | 1920.07. | Yield Not To Temptation (H. R. Palmer) Mixed Voices Unaccompanied - Metropolitan Quartet [WORDS] |
| R | 4278-A-1-9 | 1915.11. | Seek Ye The Lord - Anthem (Dr. J. V. Roberts) (Tenor and Mixed Voices with orchestra) Hardy Williamson and The Calvary Choir [WORDS] |
| L | 7451-B-1-2 | 1920.07. | Will There Be Any Stars? (Jno. R. Sweney) (Mixed Voices Unaccompanied) Metropolitan Quartet [WORDS] |
| R | 7311-F-1-5 | 1920.04.p | Fantasia from Simon Boccanegra (Verdi) Flute and Clarinet with orchestra - Pietro Caso and Anthony Giammatteo |
| L | 7392-C-4-2 | 1920.06.1 | Saxophone Fantasie (Leon Rosebrook) Saxophone with orchestra - Rudy Wiedoeft |
| R | 6250-H-1-7 | 1918.06.24/30 | Casse-Noisette Suite--Part I [Nutcracker Suite--Part I] (a) Overture Miniature (b) Danse Chinoise [Chinese Dance] (Tschaikowsky) American Symphony Orchestra |
| L | 6252-H-1-1 | 1918.06.24/30 | Casse-Noisette Suite--Part II [Nutcracker Suite--Part II] (a) Danse de la Fée Dragée [Dance of the Sugar Plum Fairy] (b) Danse des Mirlitons [Dance Of The Reed Flutes] (Tschaikowsky) American Symphony Orchestra |
| 80594-R CASSE-NOISETTE SUITE--PART I (NUT CRACKER SUITE) (a) OUVERTURE MINIATURE (b) DANSE CHINOISE - Tschaikowsky - AMERICAN SYMPHONY ORCHESTRA In the "Casse-Noisette Suite," ("Nut Cracker Suite"), we discover that Tschaikowsky could be as gaily irresponsible as any child. Originally, this music was composed for a fairy ballet in two acts, three scenes. The story of it is as follows: The opening scene shows a number of children gathered about the Christmas tree, receiving their gifts. One of the little girls, Marie, receives a nut cracker, to which she takes an extraordinary fancy. Teasingly, some of the boys present snatch it from her and it is broken. Marie cries, and, before going to bed, rocks the nut cracker to sleep under the Christmas tree. About midnight, Marie awakens with a sob from sleep |
80594-L CASSE-NOISETTE SUITE--PART II (NUT CRACKER SUITE) (a) DANSE DE LA FÉE DRAGÉE (b) DANSE DES MIRLITONS - Tschaikowsky - AMERICAN SYMPHONY ORCHESTRA and steals from her bed, down to the Christmas tree to visit her broken nut cracker. Arriving there, she sees swarms of mice. Suddenly, a magical thing happens. All the Christmas toys and cakes, together with her nut cracker, come to life. War is declared on the mice, and the nut cracker leads his army of toys and cakes. Marie throws her shoe at the mouse commander, and kills him. Thereupon the nut cracker changes to a handsome prince, and takes her with him to his kingdom, which is a jam mountain in a fairyland of candy and toys. Here various toys--and even Chinese tea--dance for her. |
| R | 6891-A-1-5 | 1919.07.28/31 | (a) Were My Song With Wings Provided (Hahn) (b) Serenata—I Wait Beneath Thy Window, Love (Moszkowski) Soprano with orchestra – Betsy Lane Shepherd (SKIPS) [WORDS] |
| L | 6804-A-3-2 | 1919.05.23 | Parted (F. Paolo Tosti) Baritone with orchestra – Thomas Chalmers (SKIPS) [WORDS] |
| R | 7493-A-3-1 | 1920.08.05/13 | To A Wild Rose (MacDowell-Zoellner) First Violin, Second Violin, Viola and Violoncello - Zoellner String Quartette |
| L | 7484-B-1-6 | 1920.08.05/13 | Adagio Cantabile (Josef Haydn, Op. 64, No. 5) First Violin, Second Violin, Viola and Violoncello - Zoellner String Quartette |
| R | 6251-A-1-5 | 1918.06.24/30 | Casse-Noisette Suite--Part III [Nutcracker Suite--Part III] (a) Danse Arabe [Arabian Dance] (b) Danse Russo (Trépak) [Russian Dance] (Tschaikowsky) American Symphony Orchestra |
| L | 6249-C-1-9 | 1918.06.24/30 | Casse-Noisette Suite--Part IV [Nutcracker Suite--Part IV] Valse des Fleurs [Waltz of the Flowers] (Tschaikowsky) American Symphony Orchestra |
| 80602-R CASSE-NOISETTE SUITE--PART III (NUT CRACKER SUITE) (a) DANSE ARABE (b) DANSE RUSSE (TRÉPAK) - Tschaikowsky - AMERICAN SYMPHONY ORCHESTRA On Re-Creation No. 80594 we gave what might be called the first half of the "Nut Cracker Suite," containing the "Ouverture Miniature" and three dances. The present Re-Creation, therefore, completes the suite with three more dances. As one of the works of Tschaikowsky's later life, the "Nut Cracker Suite" modifies our opinion of the composer as a being enveloped in gloom and melancholy. Nothing could be happier, or more irrepressible than the spirit of this famous composition, though it was written during a period of depression and dire foreboding on the part of Tschaikowsky. It was first produced under the direction of the composer in St. Petersburg in March, |
80602-L CASSE-NOISETTE SUITE--PART IV (NUT CRACKER SUITE) VALSE DES PLEURS - Tschaikowsky - AMERICAN SYMPHONY ORCHESTRA 1892. Unlike the reception given to most of Tschaikowsky's important orchestral works, this was received with great enthusiasm and a number of the dances had to be repeated. Since that time it has been an exceedingly popular number at symphony concerts, and is frequently performed, especially for the delight of an audience of children. There are many charmingly quaint effects achieved by Tschaikowsky in the instrumentation of this suite, notably by employment of the celesta and other unusual instruments. By these means Tschaikowsky gave a fairy-like, eerie atmosphere to the various dances which make up the composition. |
| R | 7683-A-5-5 | 1920.12.11/24 | Recollections of 1861-65 [Adjutant's Call; Just Before the Battle, Mother; Mess Call; When Johnny Comes Marching Home; Assemble Call; We're Tenting To-night; Taps] (Trumpet solo with orchestra) Edna White |
| L | 7690-B-2-8 | 1920.12.11/24 | Love's Old Sweet Song (J. L. Molloy) (Saxophone with Orchestra) Chester Gaylord |
| R | 7636-G-1-3 | 1920.12. | That Old Irish Mother Of Mine (Harry Von Tilzer) Tenor with Orchestra - Allen McQuhae [WORDS] |
| L | 7634-F-5-4 | 1920.12. | The Bard Of Armagh (Herbert Hughes) Tenor with Orchestra - Allen McQuhae [WORDS] |
| R | 7744-H-1-8 | 1921.01/03 | Madame Butterfly Selection - Part 1 (Puccini) American Symphony Orchestra |
| L | 7745-F-2-12 | 1921.01.p | Madame Butterfly Selection - Part 2 (Puccini) American Symphony Orchestra |
| R | 7652-B-2-3 | 1920.11.22/6 | Introduction and Tarantelle (Pablo de Sarasate, Op. 43) Violin Solo - Mischa Violin - Pianoforte by Josef Adler |
| L | 7669-A-3-4 | 1920.12.07/9 | Arioso (Bach-Franko) Viola Solo - Herman Kolodkin - Pianoforte by Robert Gayler |
| R | 7389-A-1-6 [1-3] | 1920.06.07 | Nazareth (Ch. Gounod) Baritone and Chorus, with Orchestra - Thomas Chalmers [WORDS] |
| L | 9278-B-5-3 | 1923.12.05 | Silent Night (Franz Gruber) Soprano, Tenor and Baritone - Elizabeth Spencer, Charles Hart and Vernon Archibald [WORDS] |
| R | 7682-C-4-8 | 1920.12.11/24 | The Debutante--Caprice Brillante (Herbert L. Clarke) Trumpet with Orchestra - Edna White |
| L | 7660-C-6-3 | 1920.12.01/7 | South Russian Folk-Song - Russian Balalaika Ensemble |
| R | 7581-B-3-4 | 1920.10.06/15 | Honey Babe (Vaughn de Leath) (Male Voices Unaccompanied) Criterion Quartet [WORDS] |
| L | 7693-C-2-12 | 1920.12.11/24 | Little Pickaninny Kid (David W. Guion) (Soprano with Orchestra) Betsy Lane Shepherd [WORDS] |
| R | 7908-B-5-6 | 1921.04.12/4 | Love Sends A Little Gift Of Roses (John Openshaw) Tenor Solo - Lewis James [WORDS] |
| L | 8114-C-4-3 | 1921.07.05 | The World Is Waiting For The Sunrise (Lockhart-Seitz) Baritone Solo - Edward Allen [Arthur Middleton] [WORDS] |
| R | 7695-C-1-7 | 1920.12.11/24 | Perpetuum Mobile - Suite No III in G (Franz Ries) Violin Solo - Mischa Violin - Pianoforte by Josef Adler |
| L | 7432-C-1-6 | 1920.06.28/30 | Hungarian Rhapsody (David Popper) Violoncello Solo - Lauri Kennedy - Pianoforte by Dorothy Kennedy |
| R | 7910-B-1-6 | 1921.04.08/22 | Do You Hear Me Calling? (Schroeder-MacGuigan) Violin Solo – Madeleine MacGuigan – Pianoforte by Robert Gaylor |
| L | 2510-C-3-1 | 1913.10.22/3 | Lancelot - Pizzicato (Leon Adam) Reed Orchestra |
| R | 7676-H-4-5 | 1921.09/10 | The Garden Of Sleep (Isidore De Lara) Soprano with Orchestra - Betsy Lane Shepherd [WORDS] |
| L | 5982-C-6-3 | 1918.01.24 | Alice, Where Art Thou? (J. Ascher) Tenor with Orchestra - Ralph Errolle [WORDS] |
| R | 8276-B-2-2 | 1921.11.01 | Blue Danube Waltz (Strauss-Chapman) Piano Solo – Walter Chapman |
| L | 8279-A-5-1 | 1921.11.02 | Liebestraum (Dream of Love) (Liszt) Piano Solo – Walter Chapman |
| R | 5594-A-1-4 | 1917.05.31 | Old Black Joe (Stephen C. Foster) Baritone Solo - Thomas Chalmers [WORDS] |
| L | 8209-C-2-1 | 1921.09.07 | Smile Through Your Tears (Bernard Hamblen) Baritone Solo - Thomas Chalmers [WORDS] |
| R | 9036-C-3-1 | 1923.06.18 | Finlandia (Tone Poem) (Jean Sibelius, Op.26, No. 7) American Symphony Orchestra |
| L | 9043-A-1-1 | 1923.06.25 | Badinage (Victor Herbert) American Symphony Orchestra |
| R | 8473-A-3-1 | 1922.06.12 | These Are They - The Holy City (Gaul) Soprano Solo - Anna Case [WORDS] |
| L | 8480-C-2-1 | 1922.06.14 | Rejoice Greatly--Messiah (Handel) Soprano Solo - Anna Case [WORDS] |
| R | 9082-A-3-8 | 1923.07.17 | A Dream (J. C. Bartlett) (Tenor) Charles Hart [WORDS] |
| L | 3290-F-8-5 | 1916/17 | I Hear You Calling Me (Charles Marshall) (Soprano and Chorus) Elizabeth Spencer [WORDS] |
| R | 8241-C-2-6 | 1921.10.05 | The Gipsy's Warning (Henry A. Coard) Soprano – Betsy Lane Shepherd [WORDS] |
| L | 8129-C-4-1 | 1921.07.13 | The Gay Gitana (Charles A. E. Harriss) Soprano – Betsy Lane Shepherd |
| R | 4903-F-2-6 | 1916.07.p | Leonore Overture No. 3 - Part 1 (L. van Beethoven, Op. 72) American Concert Orchestra |
| L | 4904-K-1-5 | 1916.07.p | Leonore Overture No. 3 - Part 2 (L. van Beethoven, Op. 72) American Concert Orchestra |
| R | 9421-B-3-3 | 1924.03.18 | La Golondrina (The Swallow) (Narciso Serradell) Gregor Skolnik And His Orchestra |
| L | 9425-C-3-2 | 1924.03.19 | Abandonado (Abandoned) Mexican Waltz (Guillermo Posadas) Gregor Skolnik And His Orchestra |
| R | 9573-B-1-2 | 1924.06.19 | Robin Hood Airs, No. 1 (Reginald De Koven) Mixed Voices - New York Light Opera Co. [WORDS] |
| L | 9576-B-3-4 | 1924.06.20 | Robin Hood Airs, No. 2 (Reginald De Koven) Mixed Voices - New York Light Opera Co. [WORDS] |
| R | 9567-A-3-4 [2-1] | 1924.06.14 | The World Is Waiting for the Sunrise (Ernest Seitz) Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 9568-A-3-2 | 1924.06.14 | Poor Butterfly (Raymond Hubbell) Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| JUST A WORD OR TWO ABOUT ORGAN RECORDS | |||
| Until recent years, the pipe organ was used chiefly in
churches and large auditoriums, and was a more or less "classical" instrument. Since its adoption by the
movie theatres, however, it has found a new place in public favor, and has become one of the most popular
of musical instruments. The nation's annual bill for organ music is said to be now many millions of
dollars. The universal appeal of the organ is no doubt due to its great range and versatility, which enable it to give utterance to almost every conceivable human mood and emotion. This, incidentally, is the secret of its success in keeping up with the rapidly shifting scenes of the movies; and it is also the reason that organ records of popular music, though comparatively new in the phonograph world, take high rank today among the best sellers. The musical variety of the organ, ranging from deep bass growls to high treble notes fine as cobwebs, with swift changes in tempo and volume, is not the easiest thing for phonograph recording and reproduction. Not all companies have dared to try it; and some who have tried it, though using great organs |
and master organists, are yet able to produce only a fair imitation of organ music,
scarcely distinguishable from orchestra records, lacking the overtones that give life to music, and marred
by metallic twang and clatter. Here is a great opportunity for the Edison Dealer. For the EDISON, faithfully recording always just what it hears, reproduces the true organ voice in all its fullness and variety. Make this comparison for your customers: play an Edison organ record with the diamond; then play the same selection on a needle record, and let your customer judge. If he knows how a real organ sounds, he won't have to look at the record label, nor use his imagination, to tell which record reproduces the organ, and which one imitates it. Edison organ records are made in our studio, on our own specially built Midmer-Losh Pipe Organ, played by Frederick Kinsley, organist of New York's famous "big" theatre, the "Hippodrome." These records not only sell themselves: they sell Edison Phonographs as well. Use them generously, and see how your list of proud owners will grow. |
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| R | 9565-A-2-6 [2-2] | 1924.06.14 | Prelude In C Sharp Minor, Op. 3 (Sergei Rachmaninoff) Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 9566-A-1-7 [2-2] | 1924.06.14 | Liebestraum (Dream of Love) (Franz Liszt) Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 9931-A-1-1 [2-1] | 1925.01.06&7 | Abide With Me (Wm. H. Monk) Organ Solo Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 9932-C-1-2 | 1925.01.06&7 | Lead Kindly Light (John B. Dykes) Organ Solo Played by Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10442-A-1-6 | 1925.06.20 | Indian Love Call from "Rose-Marie" (Otto Harbach, Oscar Hammerstein, 2nd & Rudolf Friml) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10444-C-1-4 | 1925.06.20 | A Waltz in the Moonlight and You (Mitchell Parish and Alfred Solman) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10447-B-1-1 | 1925.06.22 | In Shadowland (Sam M. Lewis, Joe Young, Ruth Brooks & Fred E. Ahlert) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10453-B-1-1 | 1925.06.23 | The Melody That Made You Mine (Cliff Friend & W. C. Polla) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10470-A-1-2 | 1925.06.25 | I'm Falling In Love With Some One (From Naughty Marietta) (Victor Herbert) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10475-C-1-3 | 1925.06.27 | A Kiss In The Dark (B. G. De Sylva & Victor Herbert) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10461-C-1-7 | 1925.06.24 | Pomp And Circumstance March (Edward Elgar) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10443-B-1-4 | 1925.06.20 | War March Of The Priests--Athalie (Mendelssohn) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10448-B-1-7 | 1925.06.22 | The Palms (J. Faure) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10474-C-1-7 | 1925.06.27 | Silent Night (Franz Gruber) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10462-B-1-1(4-1) | 1925.06.24 | Minuet in G (Beethoven) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10464-A-11-1 | 1925.06.24 | Souvenir (Franz Drdla) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 10449-B-1-3 | 1925.06.22 | On The Road To Mandalay (Oley Speaks) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| L | 10476-B-3-3 | 1925.06.27 | A Song Of India (Chanson Indoue) (N. Rimsky-Korsakow) Frederick Kinsley on the Midmer-Losh Pipe Organ |
| R | 4042-A-3-3 | 1915.08. | Home Sweet Home (John Howard Payne) Mixed Voices with orchestra - Metropolitan Quartet [WORDS] |
| L | 1308-B-2-1 | 1912.10.14 | The Swallow (Narciso Serradell) Mixed Voices with orchestra - Metropolitan Quartet [WORDS] |
| R | 4579-A-7-137 | 1916.03.1 | Humoresque (Anton Dvorak) Violin Solo - Albert Spalding - Pianoforte by Andre Benoist |
| L | 3761-A-2-104 | 1915.05. | Cavatina op. 85 #3 (Joseph Raff) Violin Solo [Albert Spalding] Piano accompaniment |
| R | 2693-C-10 | 1914.01.09 | O Holy Night (Adolphe Adam) Baritone and chorus – Orchestra Accompaniment [Thomas Chalmers] [WORDS] |
| L | 2774-B-1-1 | 1914.01.22 | The Palms (J. Faure) Baritone solo – Orchestra Accompaniment [Thomas Chalmers] |
| R | 3796-B-4-1 | 1915.05 | “Charmant oiseau” - La Perle du Brésil ([Félicien] David) [Anna Case] Soprano solo in French - Flute Obligato |
| L | 2720-B-2-20 | 1914.01 | (Explanatory Talk - Charmant oiseau) (Harry E. Humphrey) [WORDS] |
| 82078 CHARMANT OISEAU (THOU BRILLIANT BIRD)—LA PERLE DU BRÉSIL - Félicien David SOPRANO SOLO IN FRENCH BY ANNA CASE Félicien César David was born at Cadene, in the South of France, in 1810. Although his music is now seldom heard, and his name almost forgotten, he wrote much that is interesting and beautiful. He was one of the musicians who rendered the reign of Louis Philippe, the “Citizen King,” memorable, and his music, at the time, was immensely popular. After three years in the Jesuit Collage at Aix, David became assistant conductor of the Theatre there. He went to Paris in 1830, and submitted specimens of his composition to Cherubini, whereupon he was admitted to the Conservatoire. |
After a sojourn in the East, David returned to Paris in 1835, and published a collection of “Mélodies Orientales.” This is said to be the first introduction of Orientalism in French music, a style that has since been used by so many writers. In 1844, after many trials, David at last reaped the fruit of his years of toil and study; his symphonic ode, “Le Désert” being received at its first performance at the Conservatoire with “delicious applause”. In 1869, having meanwhile produced his operas, “La Perle du Brésil,” “La fin du monde,” “Lalla Rookh,” and “Le Saphir ,” David was elected Académicien, taking Berlioz’s chair, and succeeding him as librarian of the Conservatoire. He died at Germain-en-Laye on August 29, 1876. “La Perle du Brésil” was first performed in 1851 at the Theatre Lyrique, in Paris, and was brilliantly successful. “Thou Brilliant Bird” is the principal soprano aria of the opera.(/td> |
| R | 6014-B-1-1 | 1918.02.12/3 | Come Unto Him - Messiah (G. F. Handel) Soprano Solo - Marie Tiffany [WORDS] |
| L | 5764-A-7-2 | 1917.09. | There's A Beautiful Land On High (A. H. Taylor) Soprano Solo - Marie Tiffany [WORDS] |
| R | 6217-C-13-83 | 1918.06. | There's A Long, Long Trail (Zo Elliott) Soprano and male voices with orchestra – Frieda Hempel And Criterion Quartet (SKIPS) [WORDS] |
| L | 6239-C-9-8 | 1918.06.17/20 | Freedom For All Forever (B. C. Hilliam) Baritone and mixed voices with orchestra – Arthur Middleton [WORDS] |
| R | 6309-C-6-15x | 1918.08.04/12 | Keep The Home Fires Burning (Ivor Novello) Female voices with orchestra - The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] [WORDS] |
| L | 6335-H-135 | 1918.08/10 | Laddie In Khaki (Ivor Novello) Female voices with orchestra - The Homestead Trio [Betsy Lane Shepherd, Gladys Rice, Amy Ellerman] [WORDS] |
| R | 6574-B-16-3 | 1919.01. | My Ain Folk (Laura G. Lemon) Soprano with orchestra - Maggie Teyte [WORDS] |
| L | 6597-B-18-18 | 1919.01. | Believe Me If All Those Endearing Young Charms (Sir John Stevenson) Soprano with orchestra - Maggie Teyte [WORDS] |
| R | 6739-B-5-26 | 1919.04. | Second Rhapsodie--Part 1 (F. Liszt) (Piano Solo) Sergei Rachmaninoff |
| L | 6740-B-8-8 | 1919.04. | Second Rhapsodie--Part 2 (F. Liszt) (Piano Solo) Sergei Rachmaninoff |
| PIANO TONE--THE TRUE TEST OF A PHONOGRAPH | |||
| True piano tone, as you doubtless know, is the most difficult to record. For that reason we are always eager to have the most exacting music critics hear the results obtained by Thomas A. Edison. A side-by-side comparison of Edison Piano Records | with Talking Machine Piano Records will quickly answer the question--"Which is
the best phonograph?" Listed here are just a few of the Piano gems available on Edison Records. |
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| R | 6741-A-14-X | 1919.04. | Second Rhapsodie--Part 3 (F. Liszt) (Piano Solo) Sergei Rachmaninoff |
| L | 6735-A-2-10 | 1919.04. | Pastorale (Scarlatti-Tausig) (Piano Solo) Sergei Rachmaninoff |
| R | 6714-C-20-4 | 1919.04.03/14 | Silent Night (Franz Gruber) (Soprano with orchestra) Frieda Hempel [WORDS] |
| L | 6817-C-71 | 1919.06.04/9 | O Holy Night - Christmas Song (Adolphe Adam) (Soprano with orchestra) Frieda Hempel [WORDS] |
| R | 5060-F-1-4 | 1916.10. | Prelude - Le Deluge (Saint-Saëns) Violin Solo - Albert Spalding - Pianoforte by André Benoist - Robert Gaylor at the Organ |
| L | 5061-A-1-4 | 1916.10. | (A) L' Arlesienne–Adagietto (Bizet) (B) Serenade Espagnole (Chaminade-Kreisler) Albert Spalding - Pianoforte by André Benoist |
| R | 6619-B-3-1 | 1919.02.13 | Funiculi-Funicula (L. Denza) Tenor and chorus of girls with orchestra - Guido Ciccolini |
| L | 6617-A-2-3 | 1919.02.10 | In questo suolo--La Favorita (Donizetti) Contralto and baritone with orchestra - In Italian - Carolina Lazzari and Mario Laurenti |
| R | 6742-C-2-18 | 1919.04. | Prelude in C Sharp Minor Op. 3 (Sergei Rachmaninoff) (Piano Solo) Sergei Rachmaninoff |
| L | 6744-A-1-13 | 1919.04 | Polka de W. R. (Sergei Rachmaninoff) (Piano Solo) Sergei Rachmaninoff |
| R | 6732-A-4-6 | 1919.04.17/8 | Theme and Variations--Sonata IX (Mozart) Piano Solo - Sergei Rachmaninoff |
| L | 6731-C-1-12 | 1919.04.17/8 | Valse in A Flat Op. 42 (Chopin) Piano Solo - Sergei Rachmaninoff |
| R | 6807-G-11-17 | 1919.05.p. | Waves Of The Danube--Vocal Waltz (J. Ivanovici) (Soprano with orchestra) (In Italian) Frieda Hempel |
| L | 4094-C-4-1 | 1915.09. | Drink To Me Only With Thine Eyes (Old English Air) (Bass with orchestra) Arthur Middleton [WORDS] |
| R | 5250-A-2-2 | 1916.12.29 | Di' tu se fedele - Un Ballo in Maschera (Verdi) Tenor and Chorus with orchestra - In Italian - Giovanni Zenatello And The Boston National Grand Opera Chorus |
| L | 5023-C-5-5 | 1916.09. | Fuggiam gli ardori - Aida (Verdi) Soprano and Tenor with orchestra - In Italian - Marie Rappold and Giovanni Zenatello |
| R | 6736-C-2-1 | 1919.04. | Valse in A Flat, Op. 64, No. 3 (Chopin) Piano Solo - Sergei Rachmaninoff |
| L | 6743-B-7-1 | 1919.04. | Barcarolle Op. 10 (Sergei Rachmaninoff) Piano Solo - Sergei Rachmaninoff |
| R | 5052-A-1-5 | 1916.10. | Canzonetta (From the Concerto Romantique for Violin) (Godard, Op. 35, No. 3) Violin Solo - Albert Spalding (Pianoforte by André Benoist) |
| L | 5752-H-1-7 | 1917.08. | Nocturne (Chopin-Wilhelmj) Violin Solo - Albert Spalding (Pianoforte by André Benoist) |
| THE VIOLIN AND ITS MUSIC | |||
| Volumes have been written on the violin, the "king" of
the orchestra. There has been more romance centered in the violin, probably, than in any other instrument.
The origin of the violin goes back to the very dawn of civilization itself. According to tradition, in the
time of the king of Ceylon, called Ravana, about five thousand years before the Christian era, the
ravanastron, the most ancient prototype of bowed instruments, was invented. It possessed all the
elements, in a primitive form, of the modern violin--catgut strings, bridge, resonant box, neck, pegs and
the bow. If you should desire to see what this instrument looked like, hunt up some Chinaman who has one of
his native fiddles, and you will get an idea of the ravanastron. So far as we are able to trace the work, historically, the Arabs and Persians were the people who developed the crude fiddle of India into an instrument more nearly resembling the physical form of our violin. The rehab, as their violin was named, arrived in Europe some time during the Middle Ages, and was experimented upon by many instrument makers. Then, in the Seventeenth Century and the early part of the Eighteenth, came the glorious line of master violin makers, headed by Amati, Stradivarius and Guarnerius, whose artisanship has never been equalled, and probably never will be surpassed. Apparently, the form of the modern violin is beyond improvement. Since the day of Stradivarius, only non-essential alterations have been made in the instrument and these consist chiefly in the strengthening of certain parts, such as the bass- |
bar, and in the thinning and lengthening of the neck to meet the demands of the modern left-hand technique. The violin is made of
about seventy separate pieces of wood. Of this number, sixty are built permanently into the structure,
while the rest are merely "fittings." The belly is made of some such soft wood as pine, the bridge and
back are both of hardwood, the former generally maple, the latter, either maple or sycamore. The length
of the body of the instrument varies slightly, according to make. In the finest "Strad" specimens, it is,
as nearly as possible, fourteen inches. On the technique of violin playing, Albert Spalding, the leading American virtuoso, holds interesting ideas. In a recent interview he said: "My candid opinion about technique is that it is just the same today as it was two hundred years ago. I can hardly see where essential innovation has come into violin playing since the six sonatas of Bach were written. Whoever can play those works is fully equipped to undertake any modern piece. I can think of only one man who has added anything to the scope of violin execution in the last one hundred years, and that is Paganini." Besides Spalding, you will find a number of famous violinists playing on Edison Re-Creations; Vasa Prihoda, Carl Flesch, Joel Belov, Isidore Moszkowitz, Mischa Violin, Marta de la Torre and Carmine Fabrizio. There is also the work in popular vein of Rae Eleanor Ball. |
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| R | 7518-A-1-7 | 1920.09.0 | Give A Man A Horse He Can Ride (Geoffrey O'Hara) Bass-Baritone with Orchestra - Arthur Middleton [WORDS] |
| L | 7504-B-2-2 | 1920.08. | Thy Troubadour (Edw. J. Walt) Bass-Baritone with Orchestra - Arthur Middleton [WORDS] |
| 82221-R GIVE A MAN A HORSE HE CAN RIDE - O'Hara ARTHUR MIDDLETON - BASS-BARITONE SELDOM so we get the inside story of a musical composition from the composer himself, but Geoffrey O'Hara vouches for the fact that it took him just three minutes and a half to finish the entire song of "Give a Aman a Horse He Can Ride." That is, the melody came to him almost instantaneously, and he "dashed it off" on the piano. He does not know whether to call it genuine inspiration or not, but he thinks it must be closely akin to that phenomenon. The song is a rollicking one, the words of which were written by the well known English poet, James Thomson. Mr. Middleton, it goes without saying, finds it a number after his own heart. |
82221-L THY TROUBADOUR - Walt ARTHUR MIDDLETON - BASS-BARITONE FULL of Spanish flavor, both in words and music, this song is sure to please a wide audience. There is something about the rhythm of Spanish music that stirs our blood. Arthur Middleton sings the song in his own special, vigorous fashion, and we almost see the rose that the serenaded lady throws down to her troubadour. "Thy troubadour whose love is pure Is waiting 'neath thy lattice for a smile; From every star that gleams afar Come sweetest dreams thy slumbers to beguile." |
| R | 7645-C-3-1 | 1920.11.22 | Ebben? Ne Andro Lontana - La Wally [Yes! Far Away Will I Go] (Catalani) Soprano with Orchestra - In Italian - Claudia Muzio |
| L | 7608-H-1-16 | 1920.11.01 | Ballatella - Pagliacci [Bird Song] (Leoncavallo) Soprano with Orchestra - In Italian - Claudia Muzio |
| R | 5787-A-4-4 | 1917.09.14 | Sextet - Chi mi frena - Lucia di Lammermoor (Donizetti) Mixed voices--in Italian - Alice Verlet, Guido Ciccolini, Arthur Middleton, Henri Scott, Merle Alcock, Enrico Baroni |
| L | 5224-A-5-6 | 1916.12.20 | Sextet - Chi mi frena - Lucia di Lammermoor (Donizetti) Mixed voices--In Italian - Marie Rappold, Margaret Matzenauer, Giovanni Zenatello, Arthur Middleton, Thomas Chalmers, Enrico Baroni |
| R | 9230-C-5-2 | 1923.10.30 | Paderewski’s Menuet (Arranged by Fritz Kreisler) Violin Solo - Albert Spalding - Pianoforte by André Benoist |
| L | 9232-B-3-5 | 1923.10.30 | Hark! Hark! The Lark—Transcription (Schubert-Spalding) Violin Solo - Albert Spalding - Pianoforte by André Benoist |
| R | 8987-C-1-1 | 1923.05.17 | Twilight Dreams Are Dreams Of You (Solomon and Baum) (Soprano) Anna Case [WORDS] |
| L | 9088-C-1-3 | 1923.07.19 | Bye And Bye You Will Forget Me (William A. Huntley) (Soprano) Anna Case and Chorus [WORDS] |
| R | 10820-C-1-1 | 1926.02.08 | Légende (H. Wieniawski, Op. 17) Violin Solo - Carl Flesch - Kurt Ruhrseitz at the Piano |
| L | 10818-A-1-1 | 1926.02.08 | Norwegian Dance, Op. 35, No. 2 (Grieg-Flesch) Violin Solo - Carl Flesch - Kurt Ruhrseitz at the Piano |
| R | 1302-F-1-1 | 1913.p | Anvil Chorus - Il Trovatore (Verdi) Mixed Voices, with Orchestra - New York Light Opera Co. [WORDS] |
| L | 2205-C-1-2 | 1913.03.28 | Miserere - Il Trovatore (Verdi) Soprano, Tenor and Male Chorus with Orchestra - Agnes Kimball and Charles W. Harrison [WORDS] |
| R | 3746-C-5-3 | 1915.04 | The Two Grenadiers (Schumann) Bass with orchestra - Arthur Middleton [WORDS] |
| L | 3752-C-5-19 | 1915.05 | (Explanatory Talk - The Two Grenadiers) {Harry E. Humphrey} [WORDS] |
| R | 3815-A-2-82 | 1915.05. | Ave Maria (Bach-Gounod) (Soprano with Orchestra) (In Latin) Marie Rappold - Violin Obligato by Albert Spalding [WORDS] |
| L | 4027-B-6-190 | 1915.07.26/9 | (Explanatory Talk - Ave Maria) [Harry E. Humphrey] [WORDS] |
| R | 6365-B-8-2 | 1918.09.18 | The Lost Chord (Arthur Sullivan) Contralto with orchestra – Carolina Lazzari [WORDS] |
| L | 6359-A-9-6 | 1918.09.06/18 | The Rosary (Ethelbert Nevin) Contralto with orchestra – Carolina Lazzari (SKIPS) [WORDS] |
| R | 4438-B-2-1 | 1916.01. | The Trumpet Shall Sound - Messiah-Recitative and Air (Handel) Bass with Trumpet Obbligato - Arthur Middleton [WORDS] |
| L | 4300-C-15-1 | 1915.11.29 | I Know That My Redeemer Liveth - Messiah (Handel) Soprano Solo - Julia Heinrich [WORDS] |
| R | 4878-C-11-1 | 1916.07.03/18 | Annie Laurie (Lady John Scott) Soprano with Orchestra - Anna Case [WORDS] |
| L | 4882-C-4-4 | 1916.07.03/18 | Old Folks At Home (Stephen C. Foster) Soprano with Orchestra - Anna Case [WORDS] |
| R | 4877-D-29-29 | 1916.07. | Cradle Song 1915 (Based on composer’s “Caprice Viennois”) (Kreisler) Soprano with orchestra – Anna Case [WORDS] |
| L | 4883-C-10-37 | 1916.07. | Home, Sweet Home (John Howard Payne) Soprano with orchestra – Anna Case [WORDS] |
| R | 4898-F-4-11 | 1916.07.p | Little Boy Blue (Ethelbert Nevin) Soprano with Orchestra - Anna Case [WORDS] |
| L | 4897-C-5-6 | 1916.07.19/24 | (a) Mighty Lak' a Rose (E. Nevin) (b) The Birth of Morn (Franco Leoni) Soprano with Orchestra - Anna Case [WORDS] |
| R | 4478-B-32 | 1916.02. | O Divine Redeemer! (Gounod) Soprano with Orchestra - Marie Rappold [WORDS] |
| L | 4862-G-4-1 | 1916.07.p | The Last Rose of Summer - Martha [opera] (von Flotow) Soprano with Orchestra - Marie Rappold [WORDS] |
| R | 9883-B-1-1 | 1924.11/12 | Varsovienne - Special Record For Mr. Henry Ford - Violin Solo, Violin Duet, Viola Solo, 'Cello Solo and String Quartet |
| L | 9884-D-1-1 | 1924.11/12 | Varsovienne - Special Record For Mr. Henry Ford - String Quartet with Song by Arthur Hall - Tenor [WORDS] |
| R | 9913-C-1-2 | 1924.12.23 | Heel And Toe Polka - Special Record for Mr. Henry Ford - String Quartet |
| L | 9959-B-1-2 | 1925.01.21/2 | Seaside Polka (Ta-Ra-Ra-Boom-De-Aye) Special Record for Mr. Henry Ford - String Quartet |
| R | 10067 | 1924.11.25 | Holiday Greetings From The Bunch At Orange - Part 1 - Jazzed by Al Farrier, Sales Manager, Art Walsh, Advertising Manager, Walter Miller, Mgr. Recording Division, Jeff Buchanan, Mgr. Record Mfg. Division, Bill O’Shaughnessy, Mgr. Record Service Department, Bill Hildebrand, Traffic Manager [WORDS] |
| L | 10068 | 1924.11.25 | Holiday Greetings From The Bunch At Orange - Part 2 - Jazzed by Sumner Williams, Purchasing Agent, Charlie Luhr, Mgr. Phonograph Mfg. Division, Gene Philips, Credit Manager, John Shearman, Mgr. Order and Service Dept., Walter Huebner, Mgr. Accounting Dept., Charles Viley, Mgr. Commission Man Plan, Charles Edison, Chairman of the Board, Thomas A. Edison, Himself [WORDS] |
| Warning! | |||
| Do not play this Re-Creation with any attachment or any
instrument except the Edison Diamond Disc Phonograph and with the Edison Diamond Disc Reproducer. If you
do, you are likely to ruin the Re-Creation. The record groove on the Edison Diamond Disc Re-Creation is a long spiral having microscopic undulations which correspond to sound waves. The diamond point which travels in this groove and actuates the diaphragm of the Edison Diamond Disc Reproducer is ground and polished by expert workmen and with mathematical accuracy to fit this groove and track the same without cutting or wearing down the small undulations. Furthermore this diamond point is mounted on a floating weight so designed as to cause the diamond to press down upon the record groove with the correct pressure, sufficient for proper reproduction and not enough to cut or wear the Re-Creation. Therefore the Edison Diamond Disc Phonograph is equipped with a mechanical feeding device for propelling the reproducer and preventing all lateral thrust and wear of the diamond point against the side walls of the groove These features which are indispensable to correct reproduction, are found only in the Edison instruments, and therefore: This Re-Creation should not be played on any instrument except the Edison Diamond Disc Phonograph and with the Edison Diamond Disc Reproducer, and we decline responsibility for any damage that may occur to it if this warning is ignored. Wipe dry with small piece of silk velvet. DON'T USE WATER. IT IS IMPORTANT that this Re-Creation shall be played at no other speed than 80 revolutions per minute. This is the speed at which all Edison Re-Creations are made. It is therefore necessary to keep your phonograph at this speed in order to obtain the best musical results. Time it occasionally. |
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50001-R Moonlight in Jungleland
Night shades falling,
And the jungle moon will soon be shining,
Jungle hearts will soon be pining,
Jungle eyes will soon be shining, too.
In the moonlight,
Jungleland will be a land of wooing,
In each shady nook beside each babbling brook,
Fond Jungle sweethearts will be cooing:
CHORUS:
Moonlight in Jungleland,
Moonlight and love,
In the Jungle glade each monkey maid,
Is somebody's turtle dove.
Lovely Miss Kangaroo,
Spoons on the sand,
With a chimpanzee her affinity,
When it's moonlight in Jungleland.
Moon is waning,
Jungleland will soon be dark and dreary,
Jungle eyes are growing weary,
Time to say goodnight to dearie, too.
Soon in slumber,
Each one for their true love will be pining,
Dreaming o'er again love tales whispered when,
The Jungle moon was softly shining:
(to CHORUS)
(animal sounds)
Oh my! What's that?
Why that am a monkey and his sweetheart up in that tree a spoonin'.
Is that so? What'd he say to her? Heh, Heh,
Oh he says uh, "Do you love me?"
Oh, heh, heh! Well what did she say?
Why she says, "I'se not prepared to answer."
(animal sounds)
Say, it's talking again. What did he say that time? Heh.heh.
He says, "Will you marry me?"
Oh, heh, heh, heh! Well, did she say "Yes?"
No, she said, "You'll have to ask my papa's consent."
(roar)
Mercy, goodness! What was that?
Why, that was her papa.
And that's her papa? What's the matter, am he mad?
No, no, no. He was only just givin' them his blessing.
Well, I do hope he'll overlook her! Ha, ha, ha!
I hope so too, gal.
(to CHORUS)
50001-L Below the Mason-Dixon Line
Slip on your Sunday go to meetin' gown,
Add a big yaller bonnet and your shoes of brown,
Now tell all the people that we're a-goin' to town,
Attend a ragtime jubilee,
We want to dance, so loosen up them feet,
Now set out your appetite, prepare to eat.
We're gwine to paralyze the coon elite,
When they gaze on you and me.
There ain't a-goin' to be a bit of fancy dancin',
And there ain't a-goin' to be no high class prancin',
And there ain't a-goin' to be no two step, reel or waltz,
That the folks up north call fine.
But the alcazaza and the rasmatazza,
We will dance from the garret to the old piazza,
As it ought to be at any jubilee,
Below the Mason-Dixon line.
Mmm, mmm,
heh, heh,
Listen to that plunkin' needle,
He certainly can thread the needle.
Ha, ha, ha!
Bust ahead, boys, bust it!
Heh, heh, heh.
Come on, Eliza, come on.
Ha, ha, ha, ha ha!
There ain't a-goin' to be a bit of fancy dancin',
And there ain't a-goin' to be no high class prancin',
And there ain't a-goin' to be no two step, reel or waltz,
That the folks up north call fine.
But the alcazaza and the razzamazzatazza,
We will dance from the garret to the old piazza,
As it ought to be at any jubilee,
Below the Mason-Dixon line.
I hear the music of a Dixie Band,
Why it's just like an echo out of Dixieland,
Now I'm so excited I can hardly stand,
I want to dance till I expire.
I want to do the Mississippi glide,
Do the Carolina shuffle and the chicken stride.
I'll keep you wingin', Honey by my side,
Until your shoes done catch on fire.
There ain't a-goin' to be a bit of fancy dancin',
And there ain't a-goin' to be no high class prancin',
And there ain't a-goin' to be no two step, reel or waltz,
That the folks up north call fine.
But the alcazaza and the rasmatazza,
We will dance from the garret to the old piazza,
As it ought to be at any jubilee,
Below the Mason-Dixon line.
Mmm, mmm.
Heh, heh, heh.
Come on gal, hurry up! We'll be late.
Never mind your shoes,
Heh, heh, heh.
Oh, there ya is.
Heh, heh, heh, heh!
There ain't a-goin' to be a bit of fancy dancin',
And there ain't a-goin' to be no high class prancin',
And there ain't a-goin' to be no two step, reel or waltz,
That the folks up north call fine.
But the alcazaza and the razzamazzatazza,
We will dance from the garret to the old piazza,
As it ought to be at any jubilee,
Below the Mason-Dixon line.
50083-R I Love The Name Of Mary
I have wandered around, but I never have found,
The heart that was meant for me.
Still I ought to have known that in Ireland alone,
The mate to my heart must be.
The name in my dreams has been Mary,
So wonderfully tender and true.
And this small little glove seems a token of love,
And my dreams have all started anew.
REFRAIN:
I love the name of Mary,
Gentle and sweet norairy,
Tender as e'er a fairy,
Just as true.
And from my heart's glad singing,
And from the hopes they're springing,
Future days joys are bringing,
And you too, Mary. (second time: Mary)
This small glove seems to be but a challenge to me,
To enter the race for love.
And to search brave and bold like the warriors of old,
The hand that can wear this glove.
It seems like a tale from the fairies,
Of love in the good days of yore.
And perhaps it's a test and I'll win like the rest,
And happy we'll live evermore.
(to REFRAIN)
50083-L The Trail Of The Lonesome Pine
On a mountain in Virginia,
Stands a lonesome pine,
Just below is the cabin home,
Of a little girl of mine.
Her name is June, and very, very soon,
She'll belong to me.
For I know she's waiting there for me,
'Neath that lone pine tree.
REFRAIN:
In the Blue Ridge Mountains of Virginia,
On the trail of the lonesome pine,
In the pale moon shine our hearts entwine,
Where she carved her name and I carved mine.
Oh, June, like the mountains I'm blue,
Like the pine I am lonesome for you,
In the Blue Ridge Mountains of Virginia,
On the trail of the lonesome pine.
I can hear the tinkling waterfall,
Far among the hills.
Bluebirds sing each so merrily,
To his mate in rapture trills.
They seem to say "Your June is lonesome too",
Longing fills her eyes.
She is waiting for you patiently.
Where the pine tree sighs.
Oh, June, like the mountains I'm blue,
Like the pine I am lonesome for you.
(to REFRAIN)
50153-R Flanagan and His Motor Car
(Beep, beep)
Taxi!
(Beep, beep)
I hear a motor car.
I've just been out in a motor car,
I had a fine ride but I didn't go far.
I was glad to come back in a trolley car,
And that is the reason I'm here.
Ha..., well, well, what's the use of singin' it when I can tell it better. You'll excuse me for wearin' these goggles. You see, I just got off a motor car, and I forgot to take 'em off. Oh say, I must tell you about it. You see, there was a special sale on motor cars one day. I went to the sale and I got a great bargain, I got a 5,000 dollar car for 4,999 dollars and 87 cents. Of course, that didn't include the extras, but then the extras only cost me 7,000 more. I tell you it was a fine turnout. In fact it would turn you out quicker than any car I ever saw. And the great thing about it was, that you never had to crawl under it to fix it, because, if the slightest thing went wrong with the machinery, it would turn upside-down for you instantly, till it was so easy to get at it to fix it.
The man said to me, "It's an eight horse-power runabout and very strong." Well, it certainly was strong, for you could smell it further than any car I ever saw. And it was a runabout all right, because it would run about half a mile then stop. And that eight horse-power thing, ha...! It took eight horses to pull it back home again. But the funny thing was, that you couldn't make it run without a lot of dust. In fact it took more dust to run it than it did to buy it.
Well anyway, motor cars are the greatest thing in the world. Why you don't see the poor people now that you used to see before the days of the motor car. And the reason is, that half the poor people have been run over and the other half are afraid to come out.
Oh say, be the way, Dan O'Brien, a friend of mine, had a motor car, and he told me he was goin' to have a new attachment put on it. And would you believe it, as soon as the attachment was put on it, O'Brien lost control of the car. The sheriff has it now.
Well sir, I could do nothing with my car, so I decided to get a chauffer. You know, a chauffer is French for plumber. I call him a chauffer because he gives people such a little show for their lives. My chauffer does me with a wonder. I asked him if he had a recommendation and he said no, but he thought he could get one in a month or two, he expected his last boss would be out of the hospital be that time. Well you ought to see the clothes he had on. Ha...! He certainly was dressed to kill. And such a disposition! Why he was the greatest fella for runnin' people down I ever saw. He was a smart fellow though. And it didn't take him long to show me difference between the quick and the dead. The quick was the ones that got out of his way and the dead were those that didn't. I asked him if he killed people often and he said no, only once.
Well, I took a chance and I went out with him this afternoon. We were goin' so fast, we were only hittin' the high spots on the road and I got scared. I says to him, "Say, I'd give ten dollars to be out of this!"
"You'll be out in a minute," says he, "and it'll cost you nothing."
Why, every time that fellow blew the horn for someone to get out of the way, he thought he ought to have a lifesaving medal. Say, he could make that car go so fast, it took two people to talk about it. One to say "Here she comes," and the other, "There she goes."
Ha... Well sir, we had a fine ride. The fine was fifty dollars, I thanked the judge, paid me fine, discharged the chauffer, sold the car, got on a trolley and here I am. Now then professor, if you give me a little gasoline I'll touch a match to it.
Gasoline has an awful smell, a smell that on me grows.
You can always find a motor car, if you'll only follow your nose.
But the terrible smell of gasoline I learned to like at last,
For when I get a whiff of it I know the danger's past.
50153-L When Uncle Joe Plays A Rag On His Old Banjo
There you is, Sam. Where's you all gwine?
What for you ask me all the time where I's gwine? I's gwine where I's gwine, that's where I's gwine.
Don't you be so back different. Where is you gwine, sure ‘nough?
Ha! I's gwine down to old uncle Joe's.
Is ya? Lordy, Lordy, Heh...!
You all come on down to Uncle Joe's and hear him play a rag on his old banjo.
Down in Dixie lives old Uncle Joe,
Down in Dixie, that's the place to go.
Where you sure will hear some music grand,
Sweetest melodies in all the land;
Ev'ry night beneath the southern moon,
Uncle Joe would play a raggy tune.
Things begin to hum when he starts to strum,
A rag upon his old banjo.
When Uncle Joe plays a rag on his old banjo,
Ev'rybody starts a-swayin' to and fro.
Mammy waddles all around the cabin floor,
Saying, "Go on, Uncle Joe, give me more, give me more."
Folks come a-runnin' when they hear that sound,
Singin' and a-dancin' till they shake the ground,
When Uncle Joe (plank-e-ty plank) plays a rag (plank-e-ty plink), on his old banjo.
Yeah, let's dance Joe, merry!
Lordy, honey, he sure can play that banjo some!
He sure do.
Hmph!
Folks come a-runnin' when they hear that sound,
Singin' and a-dancin' till they shake the ground,
When Uncle Joe plays a rag, on his old banjo.
Ev'ry night outside the cabin door,
You'll see things you never saw before,
Shufflin' wing steps and Virginia reels,
Old ones, young ones kicking up their heels.
Uncle Joe keeps a-playin' all the while,
Raggy tunes and in the latest style.
Go on, Uncle Joe, keep on Uncle Joe,
A-plunkin' on your old banjo.
When Uncle Joe plays a rag on his old banjo,
Ev'rybody starts a-swayin' to and fro.
Mammy waddles all around the cabin floor,
Saying, "Go on, Uncle Joe, give me more, give me more."
Folks come a-runnin' when they hear that sound,
Singin' and a-dancin' till they shake the ground,
When Uncle Joe (plank-e-ty plink) plays a rag (plank-e-ty plank), on his old banjo.
Sam, ain't ya comin' on home?
No indeed, honey, I's gwine to stay here 'til this party's over.
Oh, but I'm goin' on home.
You go on.
Folks come a-runnin' when they hear that sound,
Singin' and a-dancin' till they shake the ground,
When Uncle Joe plays a rag, on his old banjo.
When Uncle Joe plays a rag on his old banjo,
Ev'rybody starts a-swayin' to and fro.
Mammy waddles all around the cabin floor,
Saying, "Go on, Uncle Joe, give me more, give me more."
Folks come a-runnin' when they hear that sound,
Singin' and a-dancin' till they shake the ground,
When Uncle Joe plays a rag, on his old banjo.
50176-R The Jolly Coppersmith March
I am the Jolly Coppersmith, no one from care is free'r,
So long as I have cash to treat myself to beer.
I am the happiest man on earth and sing both loud and long,
While each stroke of my hammer keeps time to my jovial song.
La, la, la ...
Whistle ...
(repeat)
50185-R God Save the King
God save our gracious king,
Long live our noble king,
God save the king.
Send him victorious,
Happy and glorious,
Long to reign over us,
God save the king.
O Lord, our God arise,
Scatter his enemies,
And make them fall.
Confound their politics,
Frustrate their knavish tricks,
On Thee our hopes we fix,
God save the king.
Thy choicest gifts in store,
On him be pleased to pour,
Long may he reign.
May he defend our laws,
And ever give us cause,
To sing with heart and voice,
God save the king.
50185-L Rule Britannia
When Britain first, at heaven's command,
Arose from out the azure main,
Arose, arose, arose from out the azure main,
This was the charter, the charter of the land,
And Guardian Angels sang this strain:
Rule, Britannia! Britannia, rule the waves!
Britons never, never, never will be slaves.
Rule, Britannia! Britannia, rule the waves!
Britons never, never, never will be slaves.
The nations not so blest as thee
Must, in their turn, to tyrants fall,
Must, in their turn, to tyrants fall,
While thou shalt flourish, shall flourish great and free:
The dread and envy of them all.
Rule, Britannia! Britannia, rule the waves!
Britons never, never, never will be slaves.
Rule, Britannia! Britannia, rule the waves!
Britons never, never, never will be slaves.
Rule, Britannia! Britannia, rule the waves!
Britons never, never, never will be slaves.
50187-L (a) Die Wacht am Rhein
Es braust ein Ruf wie Donnerhall,
Wie Schwertgeklirr und Wogenprall:
Zum Rhein, zum Rhein, zum deutschen Rhein,
Wer will des Stromes Hüter sein?
REFRAIN:
Lieb' Vaterland, magst ruhig sein,
Lieb' Vaterland, magst ruhig sein,
Fest steht und treu die Wacht, die Wacht am Rhein!
Fest steht und treu die Wacht, die Wacht am Rhein!
Durch hunderttausend zuckt es schnell,
Und aller Augen blitzen hell;
Der Deutsche Jüngling, fromm und stark,
Beschirmt die heil'ge Landesmark.
(to REFRAIN)
(b) Deutschland über Alles
Deutschland, Deutschland über alles,
Über alles in der Welt,
Wenn es stets zu Schutz und Trutze
Brüderlich zusammenhält,
Von der Maas bis an die Memel,
Von der Etsch bis an den Belt -
Deutschland, Deutschland über alles,
Über alles in der Welt.
Deutschland, Deutschland über alles,
Über alles in der Welt.
50227-R Tip-Top Tipperary Mary
Tipperary Tommy was a soldier boy,
Brave as any lad could be,
Tipperary Mary was a pretty lass,
Waiting for her Tommy 'cross the sea,
In her heart, in her heart a beating feeling tells,
Of a love that is all true blue,
And in her ear a song Tommy sang will linger long,
And thrill her through and through:
REFRAIN:
Tip-Top Tipperary Mary,
I love you true,
Tip-Top Tipperary Mary,
My love's true as your eyes of blue,
I dream of your endearing young charms,
Every night through,
Though I'm far away from Tipperary Mary,
My heart's with you.
Tipperary Tommy, so the story goes,
Told a comrade one dark night:
"Everything is fading, it's myself that knows,
Never ever more will Tommy fight,
In my heart, in my heart, a throbbing seems to tell,
Of my Mary so far away,
When you go marching home, sing to Mary 'cross the foam,
This song I sang one day:"
(to REFRAIN)
50227-L The Little Ford Rambled Right Along
Now Henry Jones and a pretty little queen,
Took a ride one day in his big limousine,
The car kicked up and the engine wouldn't crank,
There wasn't any gas in the gasoline tank.
Just about that time along came Nord,
And he rambled right along in his little old Ford,
He stole that Queen as his engine sang a song,
And his little old Ford just rambled right along.
His little old Ford it rambled right along,
The little old Ford it rambled right along,
The gas burned out in the big machine,
But the darned little Ford don't need gasoline.
The big limousine had to back down hill,
The blamed little Ford is going up still.
When she blows out a tire just wrap it up with wire,
And the little Ford will ramble right along.
Now they ran over glass and they ran over nails,
They ran over pigs and puppy dogs' tails,
They spotted a cop and shot out of sight,
They rambled all day and they rambled all night.
They smashed up fences and telegraph poles,
They bumped into ditches and deep chuck holes,
They bumped into a preacher and the preacher took a ride,
And the Ford rambled on with Johnny and his bride.
The little old Ford it rambled right along,
The little old Ford it rambled right along,
He swung around the corner and he bumped into a mule,
And the darned old jackass kicked like a fool;
He kicked and he kicked and he kicked the wheels,
But he had to quit kicking to save his heels,
When it runs out of dope just fill it up with soap,
And the little Ford will ramble right along.
You can smash the top and smash up the seat,
Twist it out of shape 'till both ends meet;
Smash the body and rip out a gear,
Smash up the front and smash up the rear;
Smash up the fender and rip off the tires,
Smash up the lamps and cut out the wires;
Throw in the clutch and then forget the juice,
And the little old Ford will go to beat the deuce.
The little old Ford it rambled right along,
The little old Ford rambled right along,
Now cut that out, you naughty tease,
'Tis a left hand drive and a right hand squeeze,
Patch it up with a piece of string,
Spearmint gum or any old thing,
When the power gets sick just hit it with a brick,
And the little Ford will ramble right along.
50228-R Mother's Prayers Have Followed Me
I grieved my Lord from day to day,
I scorned His love so full and free,
And though I wandered far away,
My mother's prayers have followed me.
REFRAIN:
I'm coming home, I'm coming home,
To live my wasted life anew,
For mother's prayers have followed me,
Have followed me the whole world through.
(first time repeat)
He turned my darkness into light,
This blessed Christ of Calvary!
I'll praise His name both day and night,
That mother's prayers did follow me.
(to REFRAIN)
50228-L My Father Watches Over Me
I trust in God wherever I may be,
Upon the land or on the rolling sea,
For, come what may, from day to day,
My heavenly Father watches over me.
CHORUS:
I trust in God, I know He cares for me, (he cares for me)
On mountain bleak (on mountain bleak) or on the stormy sea; (the stormy sea)
Though billows roll, (though billows roll) He keeps my soul, (keeps my soul)
My heavenly Father watches over me.
He makes the rose an object of His care,
He guides the eagle through the pathless air,
And surely He remembers me,
My heavenly Father watches over me.
The valley may be dark, the shadows deep,
But oh, the Shepherd guards His lonely sheep;
And through the gloom, He'll lead me home,
My heavenly Father watches over me.
(to CHORUS)
50260-R War Talk At Pun’kin Center
Ha... Well sir, we was all settin’ around Ezra Haskins's grocery store, talkin’ about the war, and Si Pettingill said, “I see the Germans are shooting gas at that battle in Hearapes.” Lige Willet said, “Shucks, that ain’t nothing. We got a lot of men right here at home been shootin’ gas all their lives, and we ain’t got any war. Ha... All we got is a war tax.” Rube Hendricks said, “Maybe the tax is to pay for the gas.” Joe Innis said, out in Indiana where he lived, they had natural gas. And Ezra Hoskins said, he wondered if Joe wasn’t a sample of it. Ha... Jay Fisher said, he didn’t know, but he’d been careful not to light a match around Joe, ever since he come back to Pun’kin Center. Ha...
Gosh! Joe Innis got madder than a wet hen. He got red in the face, and swallered his terbaccer, and come mighty nigh chokin’ on it. Well, after Joe had drunk about three cords full of well water he said, “You old mossbags been here all your lives, tryin’ to get rich on a lot of ground so poor you have to fertilize it to make break. You never did know nothin’ and always will.” Ha... Then he kicked over the mail keg he was settin’ on and went home.
Jim Lawson said, “Talking about the war. They ain’t doin’ things as I’d do it.” And Abe Sprouse said, “Jim, you put me in mind of a feller who enlisted in the army. He could march fifty miles a day and was a good shot, but he couldn’t keep steps. And every time they was drillin’ he would get them out of step. They thought he was doin’ it on purpose, so they put him in the guard house for it. The colonel come along and said, “Why, what you doin’ in there, Ethan?” And Ethe said, “They was out doin’ that fool drillin’, and they was all out of step except me, and they locked me up!” Ha...
That’s what’s the matter with you, Jim. The world is all out of step ’cept you. Well, for a spell it was so quiet you could hear your hair grow. Finally Hank Weaver said, “Now thar is them Belgians. Everybody is doin’ something for them. Course, I guess maybe the Germans did get to fightin’ the aliens, over on their ground, and they probably knocked down a lot of their corn fodder and mussed up their meadow fields some.” And one time, I was goin’ to speak right out in meetin’ and say what I thought about it, but after the president’s proclamation I made up my mind, I was goin’ to be neutral, but our women folk think, here I am goin’ around with my pants held up with a ten penny nail and a clothespin, and a flag of truce flutterin’ from the rear, while my wife and gals are sewin’ for Belgians. I made up a song about it, I’ll set down a’melodeon, see if I can sing it for you.
All the folks at our house are busy as can be.
Sewin’ for them Belgians what live across the sea,
I’ve got nothing left to wear,
Not much between me and the air.
If I grumble, they don’t care,
Gosh, I wish I was a Belgian.
Gosh, I wish I was a Belgian.
I’d have lots of things to wear.
Gosh, I wish I was a Belgian.
People sewin’ for me everywhere.
With all those clothes and a brand new shirt,
I’d be a regular, gosh darned flirt,
Gosh, I wish I was a Belgian!
Ha... Deacon Witherspoon said he didn’t know, but he guessed if they heard that song it would either stop the war or start another one. Ha...
50260-L Uncle Josh’s Huskin Bee
Whoa. Hold on there a minute, Ezra. Samantha, Samantha. Bring that broom here. Here it is, Uncle Josh. Well, just sweep off the place now. Where you want the melodeon set? Put it right here, Uncle Josh. Now, Ezra, you and Reuben bring in that load of corn. Pile it up even on both sides. Gosh! This is going to be a real huskin! Is the Higgins folks comin’, Uncle Josh? Yep, all of them, including Si. I guess that’s the one you were anxious about? Ha... Oh, ha... Gosh sakes, Uncle Josh, how you do talk. Well, get the lights lit. The days are getting short. It gets dark early now. I hear folks comin’, Uncle Josh. I do believe it’s the Higgins, ha... Well, there’s a lot of them. I hear ’em singing!
... you and me,
Way down on the farm.
When we have that huskin bee,
Way down on the farm. (and soda!)
Way down on the farm,
Where there is no harm.
From down in the fall,
We’ll show you all.
What we do down on the farm.
Howdy, boys. Hi... Now you boys and gals get to shucking that corn. First boy what finds a red ear gets to kiss the prettiest gal on the barn floor. This corn is mighty little, Uncle Josh. Yep, I planted the little kind. Ha... Don’t look as though you is going to have more than a half a crop! Don’t expect any more, I raised it on shares. Ha... Say, Uncle Josh. Why is this corn like Kentucky? Darned if I know, Si. Why ’cause it’s full of kernels and the colonel’s full of corn. Ha... Well that’s pretty good. Now, pass that cider jug around. That cider jug sounds good to me. Ha...
Ha, ha, ha, you and me,
Little brown jug don’t I love thee.
Ha, ha, ha, you and me,
Little brown jug don’t I love thee.
I always liked that little brown jug. If you hadn’t liked it so well, you’d a’been able to pay your taxes. Ha... Gosh, Ezra, that’s a zinger on you. Whoopee! Si’s got a red ear. Yah!... Bully for you, Si. I believe he had it in his pocket. Ha... He’s got to kiss a gal. Pick your gal, Silas. Uh... I don’t want to. Gosh, you got to. Well... come on, Samantha. Oh, ha... Must I? Ha... (smooches) Oh, now Si. Oh, now you quit! Ha... Oh, Si. I’m ashamed of you. Hold on, there, Si. You only found one red ear. Ha... Well, Hank, got your fiddle ready? All ready, Josh. Get your partners for a cotillion. Be all ready? Yah!... All, let her go...
Honor your partners, right and left. Yah!...
All join hands and circle to the left. Yah!...
First four, forward and back. Yah!...
Second four, forward and back. Yah!...
Now then, hoop’er up, everybody, hoop’er up! Yah!...
Grand right and left. Yah!...
Promenade all. Yah!...
Everybody dance!
Well it’s gettin’ a little late. Guess I’ll be goin’ to bed. You boys and gals have a good time, remember. There’s a huskin bee at the old homestead very year. Yah!... Well, good night. Yah!... Good night.
Well, they’re havin’ a good time. Gosh, if I was fifty years younger, I’d show them how to do it. Ha...
50263-R Town Topics of Pun'kin Center
Ha... Well sir, everything around the place is upside down and I can't find a darn thing where I left it. I'm so doggone mad right now if I bit myself I'd have hydrophobia. Well, I've been away from home two weeks, and when you ain't at home then they ain't a thing goes right. I've been down to New York, I have, and do you know that is the doggonedest village I ever was in. Gosh! They don't know when to go to bed down there. There's more folks on the street at two o'clock in the mornin' than there is in our town on circus day. Ha... Well sir, they got me in the habit of it, too. One night I didn't go to bed till half past seven. Ha...
Well I guess I'll look over the paper and see what they've been doing while I was away from home, if I can find the column it's printed in. Only print one column of the paper here in our town. Rest of it comes already printed. Yep, here it is. Pun'kin Center Town Topics. Well, well. Pun'kin Center ball club beat Hickory Corners a hundred and six to ninety-seven. Gosh all hemlock! Hank Weaver knocked a fly ball, knocked it over and hit the stained glass window in the Baptist church and put out the four apostles with that hit. Ha... Now they're going to move the church cause it stands so close to the ball ground it interferes with the game. Everybody wanted to whip the umpire so they loaded the county jail up on a wagon, hauled it out to the ball ground and locked the umpire up in it, and let him umpire the game out of the window, and couldn't a darn one of them get at him. Ha...
Well I wanted to know! Hi Adkins got some wooden nest eggs and he put them under his old setting hen and she hatched out four blockhead chickens and a woodpecker. Ha... Jim Lawson went down to the county seat and got his hair cut, and the barber scared up a woodchuck and two flying squirrels. Wow, they ought to let Jim's hair grow and set him over again. Well, well. Lige Willet has got the locomotor ataxia. Now he's got that darn thing, I bet he don't know how to run it. Ha... Gee whiz! Jim Wilson got some colored Easter eggs, and he wanted to hide them from the children, so he took them out in the barn and put them under the old Plymouth Rock hen, and rooster came along and looked at them, and went over in the next yard and whipped the peacock. Ha...
Don't it beat all what'll happen when you ain't to home? I ought to have got these papers down in New York but I couldn't find out what post office it was in. They got two hundred post offices in New York. Don't ya know when you're away from home and among strangers and ya don't know anybody, don't it cheer you up just to get a paper from your own home town.
When you're away from home and in a foreign land,
You've got the blues to beat the band.
I'll tell you something right away that's round,
Just get a paper from your own home town.
It tells about the weather and it tells about the
crops,
All the gossip in the barbershop,
And sometimes they're printed upside down,
Old-fashioned paper from your own home town.
Hoskins' children have the measles, Jason Green has
got the gout,
Abe Sprouse has got religion and he hasn't found it
out.
And they've got a brand new baby at the home of Hiram
Brown,
Items from the paper from your own home town.
Well, getting along about bedtime. Guess I'll shut up! Ha...
50263-L Uncle Josh Buys an Automobile
Ha... Well, I've gone and done it. Yes, sir. Nancy nagged at me until I bought an automobile. Nancy said the Willets had one, the Weavers had one, and here we was riding around in a buckboard wagon with a bone spavin horse that had springhalt and was blind on the off side. Ha... Well, I didn't hanker for that gasoline wagon, but in order to keep peace in the family I sold four head of cattle, my old French horn, twenty hogs, ten ton of hay, and put a mortgage on the farm, and bought an automobile.
I picked it out of a mail order catalog and had the National Bank of Pun'kin Center send in the money. Well in about a week it come by freight, and we got it unloaded, and Jim Lawson hauled it up to our front yard, and I think all Pun'kin Center turned out to see it. And Nancy hasn't been as tickled over anything since her crazy quilt took a prize at the county fair, and she was over that joy wagon. Ha...
Well, I felt it in my bones I'd made a fool of myself or soon would so next day I filled it full of gasoline and got all ready to take Nancy, Jim Lawson, and Ezra Hoskins out for a ride. I got out the book of rules and the more I read it, the less I knew about the innards of that machine. Ha... Jim said I had to turn the crank to shoot it off. I turned that crank until my eyes stuck out but it wouldn't budge. Nancy said the bobbin was wound too tight, or else the shuttle was threaded wrong. Ha... Ezra Hoskins said he thought maybe I didn't have the right kind of gasoline and wanted to sell me a barrel he had at the store. By that time all Pun'kin Center was there and giving advice. Lige Willet said I ought to talk kindly to it and offer it some oats. Hank Weaver said I ought to lead it around for a spell until it got to know me. And Si Pettingill said maybe I hadn't watered it yet, and Deacon Witherspoon wanted to offer prayer. Ha...
Well, I grabbed hold of that crank again, and it flew back and hit me on the shins, and I sat down in the yard to think it over, and Nancy said the language I used was just shameful. Just then Jim Lawson said, "Don't this plug go in somewhere?" We found where it went and I turned the crank again and that machine began to rare and snort, and started off like a skyrocket. And there was a lot of things happened in less time than it takes to tell it. That machine started off across lots, and everything with it. Ran over Hank Weaver's dog, tore a hole through Willets' picket fence, knocked over Si Pettingill's beehives, and kept right on a'going. Ha...
Well I worked every lever that machine had, and every one made it go faster. Nancy was screamin', Ezra Hoskins was praying, and it wouldn't be right to tell what Jim Lawson was doing, but Nancy said it sounded like he was talking to the Lord. Ha... Just then we went through Ab Whitaker's wheat field and set it on fire, and I managed to steer it onto the turnpike road, but that didn't help matters any cause it only hit the road once in a while. It tore down the toll gate, ripped down one side of the covered bridge, then started off through Jay Fisher's pasture and killed four sheep and a calf and then run into a haystack. Ha... That's all I remember now.
All I have got to show for that joyride is a broken leg, some rubber tires, six lawsuits, and a mortgage on the farm. Nancy says if we ever own another one we will have a regular chauffeur to run it. I ain't sayin' much but I've got a lingerin' suspicion that all my joyriding will be done in the old buckboard wagon. Ha...
50264-R Uncle Josh Keeps House
Ha... Well, gosh all hemlock! About a week ago Sarah Ann Martin was took down with a fever and Nancy had to go down and take care on her, she being' a widow woman, and I had to stay home and keep house. Well Cindy Lawson come over to go down with Nancy, and left her boy with me to take care on, and Nancy said to me, "Now Joshua, the bread is set to rise, the churning is all ready to do, and don't let the soft soap boil over, and keep your eye on the smoke house, and don't let it catch fire, and I guess maybe the speckled hen will hatch today, and I wouldn't wonder if the bees wouldn't swarm, and Joshua, don't you let Cindy's boy fall in the well nor nothing." Ha...
Gosh! I had a few things to do besides takin' care of Cindy's boy. And that boy could ask more fool questions. He said to me, "Uncle Josh, where does the wind come from?" Well I told him some of it come from Ohio, and most of it come from Nebraska. He said, "Well Uncle Josh, what's Nebraska?" I told him it was a state. And he said, "Well Uncle Josh, what's a state?" Ha...
Well I took off my coat and vest and pinned one of Nancy's aprons on me, and I hadn't took more than a dozen steps when I tripped and fell down over that darned apron and my head hit the stove, made my nose bleed, and knocked down the stovepipe and the soot went all over the bread and just as I was getting things straightened out that boy said to me, "Uncle Josh, does the Lord know everything?" I told him I calculated as how the Lord did. He said, "Well then, the Lord knows I'm hungry, don't he?" Ha...
Well I give him some bread and butter and put applesauce on it, and I started in to do the churning. Well I churned quite a spell, and I looked in the churn to see if the butter was comin' and my spectacles fell off and the churn dasher broke them, and while I was trying to fish them out my plug of tobacco fell in the churn and spoiled the cream. Well I wouldn't have cared, but I didn't have any more tobacco handy. Ha... Just then I heard that boy say, "Uncle Josh, is there a bug in it?" And I looked around, and darned if he didn't have my watch open and was pokin' in it with a hairpin. Well I took it away from him and he started a'squawling so you could hear him a mile and a half. Well I give him some maple sugar to keep him quiet, and just then the soft soap boiled over and while I was trying to sot if off the stove it upsot and run all over the kitchen floor, and some of it run through a hole in my boot, and I had to go out and stick my foot in the rain water barrel. Ha...
Well I heard that boy yell and when I got in the house darned if he didn't have his finger caught in a mousetrap. And I got it out and tied a rag around it and he said, "Uncle Josh, it's leakin', ain't it?" Well I heard a noise out in the henhouse and went out there and the speckled hen had a lot of little chickens and the cat was trying to get 'em. Ha ... Well I started to chase that cat and the clothesline caught me under the chin and I turned about four somersaults and sat down in the middle of a flower bed. And I heard that boy say, "Uncle Josh, a bee bit me!" Ha... I looked around and darned if them bees hadn't swarmed and while I was trying to hive them they got all over me, and while I was fighting them off that boy fell into the washtub and the smokehouse caught fire and the fire department turned out, and when I come to, Cindy said I'd been abusing her boy and Nancy said, "A woman can't leave home a minute. Men are such helpless critters!" Ha...
50264-L Uncle Josh in a Barber Shop
We ain't got any barber in Pun'kin Center so I always shaved myself till Nancy got to using my razor to cut her corns with, and then I quit shaving and raised whiskers. Ha... But Nancy cut my hair with the sheep shears and after she got through with it, gosh I was a sight! Ha... I looked like an escaped convict, or a fur coat that had moles in it, and Nancy cut it in all styles at once. Gosh! She would cut it Pompadour on one side, shingle it on the other, and cut it curly behind, and she'd get hair down my back, cut me with the shears, and then fuss at me cause I didn't hold still. Ha ...
Well to save myself torture, I took to wearing my hair long. Guess I'd be doin' it yet but for one thing. There was a show come to Pun'kin Center and I guess pretty nigh the whole village went to see it. Well there was a magic fellow there, and he asked for someone to come up on the platform and help him, and like a darned fool I done it! Ha... Oh, yes! I helped him right smart. Well that fellow turned me around, facing all the folks, and Nancy said it was just sinful what he done to me. He took a pack of cards and two bottles of whiskey out of my pocket; an old hen and a dozen eggs out of my hair; a rat trap, two rabbits, and a pigeon out of my whiskers. Gosh, I never felt so foolish in all my born days! Ha... And Nancy said my face was so red she was a'feared my whiskers would take fire. Well I was the laughing stock of the whole village. So I just calculate the first good chance I got I was going to get my hair cut by a regular barber. But I'd let a bird dog look over it first. Might be some more chickens in it! Ha...
So while I was in New York I thought it would be a good time to have it done. Well I looked all over New York. Guess I'd be looking yet if a fellow hadn't told me that tonsorial emporium meant barber shop. Ha... Gosh, they do have the darndest names for things. Well, I went into one of them emporiums and told a fellow what I wanted and a whole crowd of them went to work on me. One fellow went to blacken my boots; another went to cleaning my clothes; and a gal went to whittling my fingernails. And the barber went to talking. Ha...
Gosh, how that fellow could talk! He told me six funny stories, told me what horse would win the race, how the ball game would come out, what Congress is going to do, and who was going to be the next president, and what nation would win in the war, and then asked me if I wanted him to go over the chin again. Ha... I told him I heard him the first time. He cut at my hair till he got tired, and then he singed me like a chicken. He asked me four times to have some bay rum, and when he couldn't get me to drink it, he put it on my hair. He shaved my whiskers in the middle and dyed them black, tied my head up in hot rags, and then turned a buzz fan on me. Ha...
Well, when I got out of there, I never was so doodied up in all my life. And when I got home it was a full minute before Nancy knowed me, and for a whole week I was a stranger in my own home. Our dog tried to bite me, the horse kicked at me, the cow wouldn't let me milk her, and I couldn't get within gunshot of anything on the place. And when we went to church, the minister preached a sermon about Delilah cutting Samson's hair, and everybody knowed he was hinting at me. Ha... Well the black has wore off my whiskers and my hair has growed out, and yesterday I seen Nancy sharpening the sheep shears, so I suppose in a day or so I'll be lookin' natural again. Ha...
50265-R Moonlight on the Lake
Come away, come away,
Oh! come where the silvery waves break,
Oh! come, oh, come,
There's moonlight on the lake.
There's moon - - - light on the lake,
Moonlight on the lake, there's moonlight on the lake,
(The sun) The sun - - - has gone to rest,
The sun has gone to rest, the sun has gone to rest, (has gone to rest)
The birds - - - have called their loved,
The birds have called, their loved ones to their nest,
Have called their loved - - - ones to their nest.
The birds, the birds have called, their loved ones to their nest.
Upon - - - the banks we meet,
On the banks we meet, yes, on the banks we meet,
(Our boat) Our boat - - - the ripples break,
Our boat the ripples break, our boat the ripples break,
(Our hearts) Our hearts - - - are filled with joy,
Our hearts are filled, our hearts are filled with joy,
For now there's moon - - - light on the lake.
For now, for now there's moonlight, moonlight on the lake.
Come away, come away,
Oh! come where the silvery waves break,
Oh! come, oh, come,
There's moonlight on the lake.
There's moon - - - light on the lake,
Moonlight on the lake, there's moonlight on the lake,
(The sun) The sun - - - has gone to rest,
The sun has gone to rest, the sun has gone to rest, (has gone to rest)
The birds - - - have called their loved,
The birds have called, their loved ones to their nest,
Have called their loved - - - ones to their nest.
The birds, the birds have called, their loved ones to their nest.
Upon - - - the banks we meet,
On the banks we meet, On the banks we meet,
(Our boat) Our boat - - - the ripples break,
The ripples break, our boat the ripples break,
(Our hearts) Our hearts - - - are filled with joy,
Our hearts are filled, our hearts are filled with joy,
For now there's moon - - - light on the lake.
For now, for now there's moonlight, moonlight on the lake.
Come away, come away,
Oh! come where the silvery waves break,
Oh! come, oh, come,
There's moonlight on the lake.
Moonlight on the lake, Moonlight on the lake,
See our boat, our boat, see our boat the wavelets break,
And our hearts are filled, hearts are filled with joy,
Filled with joy to see the moonlight on the lake.
Come away, come away,
Oh! come where the silvery waves break,
Oh! come, oh, come,
There's moonlight on the lake.
Oh! Come away, Yes, come,
Oh! Come away, yes, come,
Yes, come, yes, come.
50265-L The Old Oaken Bucket
How dear to this heart are the scenes of my childhood,
When fond recollections present them to view!
The orchard, the meadow, the deep-tangled wild wood,
And every loved spot which my infancy knew;
The wide-spreading stream, the mill that stood near it,
The bridge and the rock where the cataract fell;
The cot of my father, the dairy house by it,
And e'en the rude bucket that hung in the well.
The moss-covered bucket I hail as a treasure;
For often, at noon, when returned from the field,
I found it the source of an exquisite pleasure,
The purest and sweetest that Nature can yield.
How ardent I seized it, with hands that were glowing!
And quick to the white-pebbled bottom it fell;
Then soon, with the emblem of health overflowing,
And dripping with coolness, it rose from the well.
How soon from the green mossy rim to receive it,
As poised on the curb it reclined to my lips!
Not a full flowing goblet would tempt me to leave it,
Though filled with the nectar that Jupiter sips.
And now, far removed from that loved situation,
The tear of regret will intrusively dwell,
As fancy reverts to my father's plantation,
And sighs for the bucket that hung in the well.
50300-R Asleep in the Deep
Stormy the night and the waves roll high,
Bravely the ship doth ride;
Hark while the light-house bell's solemn cry,
Rings o'er the sullen tide.
There on the deck see two lovers stand,
Heart to heart-beating and hand in hand,
Tho' death be near, she knows no fear,
While at her side is one of all most dear.
Loudly the bell in the old tower rings,
Bidding us list to the warning it brings.
Sailor, take care! Sailor, take care!
Danger is near thee, Beware! Beware.
Beware! Beware!
Many brave hearts are asleep in the deep,
So beware! beware!
Many brave hearts are asleep in the deep,
So beware! beware!
50300-L The Blue Jay And The Thrush
A bird that was bold as a birdie could be,
As he made these remarks in his sweet melody,
He warbled with pride from his nest in the brush,
And said that the Spring was just made for the thrush.
The robin and wren kindly asked him to hush.
The next to be heard was the pretty blue jay:
"I think, Mr. Thrush, you are wrong when you say,
We know that for all was made beautiful Spring.
Our warbles and trills we together should sing!"
The thrush quite agreed so they made the woods ring.
Said the old brown thrush with glee.
Said the robin too, from his nest in the apple tree.
And a large dan quail from the top fence rail,
Said a chorus from the shady lane.
With his day's work done came the farmer's merry son,
Who was loudly whistling this refrain.
The thrush told his mate on St. Valentine's Day,
To the blue jays that scold and a visit we'll pay.
For this is the time that was just made for love.
And each to his mate said: "My own turtledove!"
Our warbles and trills they come from above.
Our warbles and trills they come from above.
50302-R O Little Town Of Bethlehem
O little town of Bethlehem, how still we see thee lie!
Above thy deep and dreamless sleep the silent stars go by;
Yet in thy dark streets shineth the everlasting light.
The hopes and fears of all the years are met in thee tonight.
For Christ is born of Mary, and gathered all above,
While mortals sleep, the angels keep their watch of wond'ring love.
O morning stars, together proclaim his holy birth,
And praises sing to God the king, and peace to men on earth!
How silently, how silently the wondrous gift is giv'n!
So God imparts to human hearts the blessings of his heav'n.
No ear may hear his coming; but, in this world of sin,
Where meek souls will receive him, still the dear Christ enters in.
O holy Child of Bethlehem, descend to us, we pray;
Cast out our sin, and enter in, be born in us today.
We hear the Christmas angels the great glad tidings tell;
Oh, come to us, abide with us, our Lord Immanuel! Amen.
50302-L Once In Royal David's City
Once in royal David's city stood a lowly cattle shed,
Where a mother laid her baby in a manger for his bed:
Mary was that mother mild, Jesus Christ, her little child.
He came down to earth from heaven who is God and Lord of all,
And his shelter was a stable, and his cradle was a stall;
With the poor and meek and lowly, lived on earth our Savior holy.
And our eyes at last shall see him, through his own redeeming love;
For that child so dear and gentle is our Lord in heaven above;
And he leads his children on to the place where he is gone.
Not in that poor lowly stable, with the oxen standing by,
We shall see him; but in heaven, set at God's right hand on high;
When like stars His children crowned, all in white shall wait around. Amen.
50304-R Adeste Fideles
O, Come and behold Him,
Born the King of Angels;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.
50343-R There's a Long, Long Trail
Nights are growing very lonely,
Days are very long;
I'm a-growing weary only,
Listening for your song.
Old remembrances are thronging,
Through my memory.
Thronging till it seems the world is full of dreams,
Just to call you back to me.
CHORUS:
There's a long, long trail a-winding,
Into the land of my dreams,
Where the nightingales are singing,
And a white moon beams:
There's a long, long night of waiting,
Until my dreams all come true;
Till the day when I'll be going down,
That long, long trail with you.
(first time repeat CHORUS)
All night long I hear you calling,
Calling sweet and low;
Seem to hear your footsteps falling,
Everywhere I go.
Though the road between us stretches,
Many a weary mile.
Somehow I forget that you're not with me yet,
When I think I see you smile.
(to CHORUS)
50343-L My Mother's Rosary
It takes an old-time love song,
To keep this old world young;
Each heart must have a love song,
Though some are never sung.
Some people worship money,
The song of clinking gold;
But mother's song at twilight,
Brings you right back to the fold.
There's an old-time melody,
I heard long ago;
Mother called it the Rosary,
She sang it soft and low;
Without any rhyme, without any prose,
I even forgot how the melody goes,
But ten baby fingers and ten baby toes,
She'd watch them by the setting sun,
And when her daily work was done,
She'd count them each and every one,
That was my mother's Rosary.
One day we may be happy,
Next day we may regret;
Some things that we remember,
We wish we could forget.
Sometimes you may be lonely,
In darkness you may roam;
But mother's song at twilight,
Keeps telling you to go home.
In this weary world of sinning,
We all have the same beginning,
But the roads we take in life are sometimes wrong.
Now you may pay your debts to others,
But the debts we owe our mothers,
Are the ones we keep on owing right along.
From the first day my mother made my baby clothes,
Her ten commandments as everyone knows,
Were ten baby fingers and ten baby toes.
She'd watch them by the setting sun,
And when her daily work was done,
She'd count them each and every one,
That was my mother's Rosary.
50370-R You're a Dangerous Girl
I love you. I love you.
You're just the kind of girl for me,
But there is something 'bout you, makes me doubt you,
Oh! oh! what can it be?
You dare me, you scare me.
But still you hang around each day,
But you're the kind that will charm. I mean no harm.
Well! you've got a dangerous way.
You're beautiful! He thinks I'm beautiful!
You're wonderful, I know.
I'm just the kind of girlie that makes them fall.
But when you get them where you want them you fool them all.
Well I'm fond of you. But I'm on to you,
'Though you're the sweetest girl in the world.
You love my eyes, You're fond of my kissing.
But my heart cries: "Stop, Look and Listen!"
You're wonderful! I must be marvelous!
But you're a doggone dangerous girl.
You're cunning. Am I stunning?
You're ev'rything a girl should be,
You have a way of dressing, that's impressing,
Still we never agree.
You rule me, you fool me,
But, still I let you have your way,
At times I think you're not true. I stick to you,
But I love you more ev'ry day. Hooray!
You're beautiful! He thinks I'm beautiful!
You're wonderful, I know.
I'm just the kind of girlie that makes them fall.
But when you get them where you want them you fool them all.
Well I'm fond of you. But I'm on to you,
'Though you're the sweetest girl in the world.
You love my eyes, You're fond of my kissing.
But my heart cries: "Stop, Look and Listen!"
You're wonderful! I must be marvelous!
But you're a doggone dangerous girl.
You're beautiful! He thinks I'm beautiful!
You're wonderful, I know,
I'm just the kind of girlie that makes them fall.
But when you get them where you want them you fool them all.
Well I'm fond of you. But I'm on to you,
'Though you're the sweetest girl in the world.
My lips have said, "Now don't be a stranger."
But they're both red, I know that means danger.
You're wonderful! I must be marvelous!
But you're a doggone dangerous girl.
50370-L Dublin Mary Brown
Ev'ry time I hear a song of girls from Erin's Isle,
It's always sure to say her eyes are blue.
Of a brown-eyed Colleen I will sing to you the while,
And you can bet she's Irish through and through.
If my heart could only speak today,
All the world would hear it proudly say:
REFRAIN:
Mary, I love you, Mary,
With your loving sighs that I idolize
and your roguish eyes of brown.
Mary, my darling Mary,
I'll be coming back some day to Dublin town.
I love to sing to you, and soon I'll bring to you,
The wedding ring so you must get the gown.
Though your eyes are brown 'tis true,
They're as true as eyes of blue.
My darling Dublin Mary Brown. (Oh...)
(repeat REFRAIN)
Every time a boat comes in I'm there and never fail,
My thoughts are wand'ring far across the sea.
Watching for the happy word that's coming in the mail,
I'm wishing Mary, Dear, were here with me.
Yesterday I sent to her a note,
just a short one; this is what I wrote:
(to REFRAIN)
50380-R Joy To The World
Joy to the World, the Lord is come!
Let earth receive her King;
Let every heart prepare Him room,
And Heaven and nature sing,
And Heaven and nature sing,
And Heaven, and Heaven, and nature sing.
Joy to the World, the Savior reigns!
Let men their songs employ;
While fields and floods, rocks, hills and plains
Repeat the sounding joy,
Repeat the sounding joy,
Repeat, repeat, the sounding joy.
He rules the world with truth and grace,
And makes the nations prove
The glories of His righteousness,
And wonders of His love,
And wonders of His love,
And wonders, wonders, of His love.
50380-L The First Nowell
The first Nowell the angels did say
Was to certain poor shepherds in fields as they lay,
In fields where they lay keeping their sheep
On a cold winter's night that was so deep.
Nowell, Nowell, Nowell, Nowell!
Born is the King of Israel!
They looked up and saw a star
Shining in the East beyond them far,
And to the earth it gave great light,
And so it continued both day and night.
Nowell, Nowell, Nowell, Nowell!
Born is the King of Israel!
This star drew nigh to the northwest
O’er Bethlehem it took its rest,
And there it did both stop and stay
Right over the place where Jesus lay.
Nowell, Nowell, Nowell, Nowell!
Born is the King of Israel!
Then entered in there wise men three
Full reverently upon their knee,
And offered there in His presence
Their gold, and myrrh and frankincense.
Nowell, Nowell, Nowell, Nowell!
Born is the King of Israel!
50383-R Santa Claus Song
Now I was a regular Santy Claus, and I love good girls and boys.
When I come around at Christmas time to give you all some toys,
Now I've got almost everything, so if you all was good,
I'll look down in my little sack und see what I can give.
I've got prize for Maria, some little jumping jacks,
I've got some sheep and cows and calfs and ducks that go (quack-quack...)
I've got here a little pussycat that goes (meow, meow)
So if you all was nice and good, I'll give them to you now.
(Yodel...)
(talking)
I come when you all was down to sleep, your stockings just to fill,
Down by the chimney slowly creeps, so noiselessly and still.
The tell-tale light was burning low, yet I can easy tell,
To whom I'll give those knick-knack goods, and where I know quite well.
Let's mit merry sleigh bells to ring out on the air.
Und skates for girls to glide upon, I'll give away with care.
A jack-in-a-box for baby, too, and a hundred tiny things,
That makes my children happy feel, und gladness always brings.
(Yodel...)
50383-L Du, Du [Liegst Mir Im Herzen] and Doctor Eisenbart
Du, du liegst mir im Herzen,
Du, du liegst mir im Sinn,
Du, du machst mir viel Schmerzen,
Weißt nicht wie gut ich dir bin.
Ja, ja, ja, ja,
Weißt nicht wie gut ich dir bin.
Ja, ja, ja, ja,
Weißt nicht wie gut ich dir bin.
Yodel ...
So, so wie ich dich liebe,
So, so liebe auch mich,
Die, die zärtlichsten Triebe,
Fühl ich allein nur für dich.
Ja, ja, ja, ja,
Fühl ich allein nur für dich.
Ja, ja, ja, ja,
Fühl ich allein nur für dich.
Yodel ...
Doch, doch darf ich dir trauen,
Dir, dir mit leichtem Sinn?
Du, du darfst auf mich bauen,
Weißt ja wie gut ich dir bin.
Ja, ja, ja, ja,
Weißt ja wie gut ich dir bin.
Ja, ja, ja, ja,
Weißt ja wie gut ich dir bin.
Yodel ...
Ich bin der Doktor Eisenbart,
Wide wide witt bumm bumm.
Kurier' die Leut' nach meiner Art,
Wide wide witt bumm bumm.
Kann machen, daß die Blinden geh'n,
Wide wide witt juchhairassa,
Und daß die Lahmen wieder she'n,
Wide wide witt bumm bumm!
Yodel ..., Yodel ...,
Zu Podsdam trepanierte ich
Den Koch des Großen Friederich,
Ich schlug ihm mit dem Beil vor'n Kopf,
Gestorben ist der arme Tropf.
Zu Ulm kuriert' ich einen Mann,
Daß ihm das Blut vom Beine rann;
Er wollte gern gekuhpockt sein,
Ich impft's ihm mit dem Bratspieß ein.
Yodel ..., Yodel ...
50433-R America, Here's My Boy
A million mothers knocking at the nation's door,
A million mothers, yes and there'll be millions more,
And while within each mother's heart they pray,
Just hark what one brave mother has to say.
CHORUS:
America, I raised a boy for you.
America, you'll find him staunch and true,
Place a gun upon his shoulder,
He is ready to die or do.
America, he is my only one;
My hope, my pride and joy,
But if I had another, he would march beside his brother;
America, here's my boy.
(first time repeat CHORUS, second time to REPRISE)
There's a million mothers waiting by the fireside bright,
A million mothers waiting for the call tonight.
And while within each heart there'll be a tear,
She'll watch her boy go marching with a cheer.
(to CHORUS)
REPRISE:
America, he is my only one;
My hope, my pride and joy,
But if I had another, he would march beside his brother;
America, here's my boy.
50433-L Where Do We Go From Here?
Paddy Mack drove a hack up and down Broadway,
Pat had one expression and he'd use it every day,
Any time he'd grab a fare, to take them for a ride,
Paddy jumped upon his seat, cracked his whip and cried:
"Where do we go from here, boys, where do we go from here?"
Anywhere from Harlem to a Jersey City pier,
When Pat would spy a pretty girl, he'd whisper in her ear:
"Oh, joy! Oh, boy! Where do we go from here?"
One fine day, on Broadway, Pat was driving fast,
When the street was blown to pieces by a subway blast,
Down the hole poor Paddy went, a-thinking of his past,
Then he says, says he, I think these words will be my last:
"Where do we go from here, boys, where do we go from here?"
Paddy's neck was in the wreck, but still he had no fear,
He saw a dead man next to him and whispered in his ear:
"Oh, joy! Oh, boy! Where do we go from here?"
Strange to tell, Pat got well, then the war began,
He enlisted in the army as a fighting man,
When the drills began they'd walk a hundred miles a day,
Though the rest got tired, Paddy always used to say:
"Where do we go from here, boys, where do we go from here?"
Slip a pill to Kaiser Bill and make him shed a tear,
And when we see the enemy we'll shoot them in the rear,
"Oh, joy! Oh, boy! Where do we go from here?"
Far away, every day, on the fighting line,
Pat is doing all he can, of course he's doing fine.
When the soldiers hear him sing it fills them full of glee,
You can make them happy if you sing the words with me:
"Where do we go from here, boys, where do we go from here?"
Slip a pill to Kaiser Bill and make him shed a tear,
And when we see the enemy we'll shoot them in the rear,
"Oh, joy! Oh, boy! Where do we go from here?"
One fine night, Pat got tight, had an awful,
Took a bunch of ladies to a swell cafe to dine.
When the waiter came around the ladies ordered wine,
Paddy scratched his head a bit and hollered "Not for mine!"
"Where do we go from here, boys, where do we go from here?"
After that I'll take my hat and quickly disappear.
My mouth keeps saying "Champagne" but my pocketbook says "Beer,"
"Oh, joy! Oh, boy! Where do we go from here?"
50435-R You Said Something
All the girls I see make a hit with me.
Where e're I wander, I love brunettes or something blonder.
I don't care a bit, where your heart may flit,
Why surely, you knew, Dear, I was teasing, I love you, Dear.
You said something when you said you love me,
Oh, but I wonder for how long it will be,
If you find someday you've altered your mind,
I'd be forgiving, but simply could not go on living.
Girls much prettier you will meet by the score,
Will you regret you never met them before?
You said something when you said you love me,
But say it a whole lot more.
All the men I know fascinate me so.
Oh! what romances I've built around them in my fancies.
I am not aware why you think I care,
Why surely, you knew, Dear, I was teasing, I love you, Dear.
You said something when you said you love me,
Oh, but I wonder for how long it will be,
If you find someday you've altered your mind,
I'd be forgiving, but simply could not go on living.
Men much handsomer you'll meet by the score,
Will you regret you never met them before,
You said something when you said you love me,
But say it a whole lot more.
Girls much prettier you will meet by the score,
I won't regret I never met them before,
You said something when you said you love me,
But say it a whole lot more.
50435-L I'd Be Happy Anywhere With You
Tell me true Dear, I beg you do, Dear,
If you love me, will you be true, Dear,
True forever? I'll leave you never!
We shall ever be together! Be it fair or stormy weather.
I have nothing of worth to give, Dear,
Poor and lowly, we'll have to live, Dear.
I'll be happy, I'll be true!
I'll be happy anywhere with you!
In a cottage, so poor and humble,
Are you sure, Dear, you would not grumble,
You'll be true, Dear! I love but you, Dear!
We shall surely know what bliss is!
We will live on bread and kisses!
If the wolf comes so fiercely growling,
Round our doorstep at night a'prowling,
I'll be happy, I'll be true!
I'd be happy anywhere with you!
I'll be happy, I'll be true!
My only boy! So true!
I'll be happy, I'll be true!
My only girl! So true!
Put me on a mountain highland,
I won't care, So long as you are ever by my side!
Stand me on a desert island,
Anywhere surrounded by an ocean dark and wide;
Chain me in the deepest dungeon;
I would find my happiness in two fond eyes so true;
Anyhow, any place, any time, anywhere,
If I'm with you!
Stand me on a desert island,
Anywhere surrounded by an ocean dark and wide;
Anyhow, any place, any time, anywhere,
If I'm with you!
50443-R Good-bye Broadway, Hello France
Good-bye New York town, good-bye Miss Liberty,
Your light of freedom will guide us across the sea,
Every soldier’s sweetheart bidding good-bye,
Every soldier’s mother drying her eye,
Cheer up we’ll soon be there,
Singing this Yankee air:
CHORUS:
Good-bye Broadway, Hello France,
We’re ten million strong.
Good-bye sweethearts, wives and mothers,
It won’t take us long.
Don’t you worry while we’re there,
It’s for you we’re fighting too,
So Good-bye Broadway, Hello France,
We’re going to pay our debt to you.
High, right.
Forward, left. Yaah!
Don’t you worry while we’re there,
It’s for you we’re fighting too,
So Good-bye Broadway, Hello France,
We’re going to pay our debt to you.
Vive Pershing is the cry across the sea,
We’re united in this fight for liberty,
France sent us a soldier, brave La Fayette,
Whose deeds and fame we cannot forget,
Now that we have the chance,
We’ll pay our debt to France
(to CHORUS)
50443-L Over There
Johnny, get your gun, get your gun, get your gun.
Take it on the run, on the run, on the run.
Hear them calling you and me,
Every Son of Liberty.
Hurry right away, no delay, go today.
Make your Daddy glad to have had such a lad.
Tell your sweetheart not to pine,
To be proud her boy's in line.
CHORUS:
Over there, over there,
Send the word, send the word over there
That the Yanks are coming, the Yanks are coming
The drums rum-tumming everywhere.
So prepare, say a prayer,
Send the word, send the word to beware –
We'll be over, we're coming over,
And we won't come back till it's over, over there.
(repeat)
Johnny, get your gun, get your gun, get your gun.
Johnny, show the "Hun" you're a son-of-a-gun.
Hoist the flag and let her fly
Yankee Doodle do or die.
Pack your little kit, show your grit, do your bit.
Yankee to the ranks from the towns and the tanks.
Make your Mother proud of you
And the old red-white-and-blue.
(to CHORUS)
50447-R We Three Kings Of Orient Are
We three kings of Orient are;
Bearing gifts we traverse afar,
Field and fountain, moor and mountain,
Following yonder star.
REFRAIN:
O star of wonder, star of night,
Star with royal beauty bright,
Westward leading, still proceeding,
Guide us to thy perfect light.
Born a King on Bethlehem's plain,
Gold I bring to crown Him again.
King forever, ceasing never,
Over us all to reign.
(to REFRAIN)
Frankincense to offer have I;
Incense owns a Deity nigh;
Prayer and praising, All men raising,
Worship Him, God most high.
(to REFRAIN)
Myrrh is mine, its bitter perfume,
Breathes a life of gathering gloom;
Sorrowing, sighing, bleeding, dying,
Sealed in the stone cold tomb.
(to REFRAIN)
Glorious now behold Him arise;
King and God and sacrifice;
Alleluia, Alleluia,
Earth to the heaven replies:
(to REFRAIN)
50447-L God Rest You Merry, Gentlemen
God rest you merry, gentlemen, let nothing you dismay,
Remember Christ our Savior was born on Christmas Day;
To save us all from Satan's power when we were gone astray.
REFRAIN:
O tidings of comfort and joy, comfort and joy;
O tidings of comfort and joy.
In Bethlehem, in Jewry, this blessed Babe was born,
And laid within a manger upon this blessed morn;
For which His mother Mary did nothing take in scorn.
(to REFRAIN)
From God our heavenly Father a blessed angel came;
And into certain shepherds brought tidings of the same;
How that in Bethlehem was born the Son of God by name.
(to REFRAIN)
"Fear not, then," said the angel, "Let nothing you afright,
This day is born a Savior of a pure Virgin bright,
To free all those who trust in Him from Satan's power and might."
(to REFRAIN)
Now to the Lord sing praises all you within this place,
And with true love and brotherhood each other now embrace;
This holy tide of Christmas all others doth deface.
(to REFRAIN)
50460-R Hail! Hail! The Gang's All Here!
All here, boys? Sure! Everybody? Yes, let's go. Yaah!
A gang of good fellows are we (are we)
Are we (are we) are we (are we)
With never a worry you see (you see)
You see (you see) you see (you see)
We laugh and joke, we sing and smoke,
And live life merrily;
No matter the weather when we get together
We have a jubilee.
So, Hail! Hail! The gang's all here,
What the deuce do we care,
What the deuce do we care,
Hail! Hail! We're full of cheer,
What the deuce do we care Bill! (The gang's all here!)
We love one another we do (we do)
We do (we do) we do (we do)
With brotherly love and it's true (it's true)
It's true (it's true) it's true (it's true)
It's one for all, the big and small,
It's always me for you;
No matter the weather when we get together
We drink a toast or two.
So, Hail! Hail! The gang's all here,
What the deuce do we care,
What the deuce do we care,
Hail! Hail! We're full of cheer,
What the deuce do we care Bill!
When out for a good time we go (we go)
We go (we go) we go (we go)
There's nothing we do that is slow (is slow)
Is slow (is slow) is slow (is slow)
Of joy we get our share you bet,
The gang will tell you so;
No matter the weather when we get together
We sing this song you know:
So, Hail! Hail! The gang's all here,
What the deuce do we care,
What the deuce do we care,
Hail! Hail! We're full of ... cheer,
What the deuce do we care Bill!
Here we are a gang of jolly men.
And we like the nut brown ale,
What the deuce do we care Bill!
50460-L So Long, Mother
Oh mother, dear, a little tear is gleaming in your eye.
Your lips are all a-tremble as you hear me say "good-bye."
The Stars and Stripes are calling now on every mother's boy.
From Maine to dear old Dixie they shoulder arms with joy.
CHORUS:
So long, my dear old lady, don't you cry.
Just kiss your grown up baby boy good-bye.
Somewhere in France I'll be dreaming of you,
You and your dear eyes of blue.
Come let me see you smile before we part.
I'll throw a kiss to cheer your dear old heart.
Dry the tear in your eye, don't you sigh, don't you cry.
So long, mother, kiss your boy good-bye.
(1st time repeat)
Oh mother, dear, each volunteer must say good-bye today.
Some leave a love who may forget when he has marched away.
But I leave one who'll not forget that's why I'm mighty glad,
For you're the only sweet-heart that I have ever had.
(to CHORUS)
50465-R Mammy's Little Coal Black Rose
I heard a pickaninny crying,
Down in Tennessee one night.
His little heart was nearly breaking,
Just because he wasn't white.
Then his dear old Mammy kissed him,
And she said, "Child, don't you sigh.
Weep no more, my baby."
Then she sang a Dixie lullaby:
You better dry your eyes my little coal black rose, and don't you sigh.
You better go to sleep and let those eyelids close, oh hush-a-bye.
Cause you're dark don't start apining,
You're a cloud with a silver lining.
Though every old crow thinks his babe am white as snow,
Your dear old Mammy knows you are mighty like a rose.
And when the angels gave those kinky curls to you, so curly to you;
They put a sunbeam in your disposition too, that's true.
The reason you're so black I s'pose,
They forgot to give your Mammy a talcum powder chamois.
So don't you cry, don't you sigh,
'Cause you're Mammy's little coal black rose.
And then I saw that dear old Mammy,
Kiss those baby tears away.
While in her arms the baby nestled,
Happy as a child at play.
Then she whispered, "Mammy loves you,
You're as sweet as 'possum pie.
Go to sleep, my baby,
While your Mammy sings a lullaby."
You better dry your eyes my little coal black rose, and hush-a-bye.
You better go to sleep and let those eyelids close, oh don't you sigh.
Cause you're dark don't start apining,
You're a cloud with a silver lining.
Though every old crow thinks his babe am white as snow,
Your dear old Mammy knows you are mighty like a rose.
And when the angels gave those kinky curls to you, so curly to you;
They put a sunbeam in your disposition too, that's true.
The reason you're so black I s'pose,
They forgot to give your Mammy a talcum powder chamois.
So don't you cry, don't you sigh,
'Cause you're Mammy's little coal black rose.
50465-L If You Had All the World And Its Gold
I was wishing that I had the riches to buy,
All my dreams as I sat by the fire.
What a life I would live, what could riches not give,
What more could a heart desire?
When my poor little mother drew close to my side,
"There are some things, my child, you can't buy," she replied:
You can't buy your sunshine at twilight,
You can't buy the moonlight at dawn.
You can't buy your youth when you're growing old,
Nor the life when the heartbeat is gone.
You can't buy your way into heaven,
Though wealth may hold power untold.
And when you lose your mother, you can't buy another,
If you had all the world and its gold.
Mother's eyes beam on me, in their depths I can see,
Light of love far more precious than gold;
Silver threads in her hair, and her brow lined with care,
Tell me she is growing old.
Then I see that the teardrops are dim in her eyes,
As she smiles through her tears, I can't help realize:
You can't buy the sunshine at twilight,
You can't buy the moonlight at dawn.
You can't buy your youth when you're growing old,
Nor the life when the heartbeat is gone.
You can't buy your way into heaven,
Though wealth may hold power untold.
And when you lose your mother, you can't buy another,
If you had all the world and its gold.
50470-R Umbrellas To Mend
Umbrellas! Umbrellas!
(repeat)
50484-R A Wee Deoch And Doris
Ha... My! What a fine party we had the other day. There was all kind of mischievous people there. There was a long mayor a lady mayor, and a whole lot of Meer that shouldn’t be there. Ha...And then just before we broke up for the night, we all had a wee drop of liquor. Aye, we had a wee drop to drink, hmm? Ye don’t? Well, a wee drop enjoyed is a wee drink of liquor. .... Well, just listen a minute, and I’ll tell ye all about it.
It's a good old Scottish custom
that has stood the test of time,
It’s a custom that’s been carried out
in every land and clime.
Wherever Scotsmen gather
It’s aye the usual thing.
Just before they say “Good Nicht,”
they fill their cups and sing:
CHORUS:
Just a wee deoch-an-doris,
A wee drop, that’s all.
A wee deoch-an-doris,
Before ye gang awa’.
There’s a wee wifie waitin’,
In a wee bust-an-ben;
If you can say, “It’s a braw bricht moonlicht nicht,”
Ye’re a’ richt. ye ken.
(last time repeat CHORUS)
I like a man that is a man,
a man that’s straight and fair.
The sort of man, that will and can
in all things do his share.
I like a man, a jolly man,
The sort of man “ye know”,
The chap that slaps yer back and says,
“Mon Jock,” before ye go.
(to CHORUS)
I’ll invite you all some other nicht,
to come and bring yer wives,
And I’ll promise ye the grandest time
ye’ve had in all yer lives,
We'll have the bagpipes playing
We’ll make the rafters ring.
And when yer tired and sleepy,
well I’ll wake ye up and sing:
to CHORUS)
50484-L Doughie the Baker (It’s Nicer When You Make it Up Again)
I’ve never been so happy
since the King began to reign.
I quarreled with the wife
but noo we’ve made it up again.
We fell out very simple,
as we’ve often done before.
Because she saw me speaking
to the neighbor’s wife next door.
CHORUS:
But we’re a’richt noo
we cuddle and we coo,
But every time we row I have a pain.
Every man and wife
Has a quarrel in their life,
But it’s nicer when we've made it up again
Every time we have a row
she calls me many a name.
She goes about and never speaks,
and I just do the same.
Course there’s one o’ us got to speak,
the bubble’s sure to burst,
So we wait on one another
just to see who’ll speak the first.
(to CHORUS)
When I get very mad,
like what I was the other day,
I often say just what I think,
but don’t think what I say.
I said, “Away and hang yerself
A’m sorry I took you.”
Said she to me, “Just pack yer bag,
for I am sorry too!”
Every humpty-dumpty dee.. Ha...
Pack your bags. Well that’s a nice thing for a man to be told by his wife. Oh well, If ever a man in America whose wife told him to pack his bag was to do do and join the army, ha... you would never hear another word about America being unprepared. Why even the Russian army would look for a pea in the drum .... Ya see, I just courtin’ what Lincoln said, “That you could fool some of the people all of the time, and all of the people some of the time,” and then she snapped at me saying, “Well, you can’t fool me any of the time. Then for Pete’s sake, you know, I should think about it, and then she threw a flower pot at me, and then the fun began. Ha..
Oh, dear me, what worries me more. Isn’t it enough now, just for me to tell you that: (to CHORUS)
50490-R K-K-K-Katy
Jimmy was a soldier brave and bold,
Katy was a maid with hair of gold.
Like an act of fate, Kate was standing at the gate,
Watching all the boys while on parade.
Kate smiled with a twinkle in her eye,
Jim said, "M-M-Meet you b-b-bye and bye."
That same night at eight, Jim was at the garden gate,
Stuttering this song to K-K-K-Kate:
K-K-K-Katy, beautiful Katy,
You're the only g-g-g-girl that I adore,
When the m-m-m-moon shines over the c-c-c-cowshed,
I'll be waiting at the k-k-k-kitchen door.
K-K-K-Katy, beautiful Katy,
You're the only g-g-g-girl that I adore,
When the m-m-m-moon shines over the c-c-c-cowshed,
I'll be waiting at the k-k-k-kitchen door.
No one ever looked so nice and neat,
No one could be just as cute and sweet,
That's what Jimmy thought, when the wedding ring he bought,
Soon he'll go to France the foe to meet.
Jimmy thought he'd like to take a chance,
See if he could make the Kaiser dance,
Stepping to a tune, all about the silvery moon,
This is what they'll hear in far off France:
K-K-K-Katy, beautiful Katy,
You're the only g-g-g-girl that I adore,
When the m-m-m-moon shines over the c-c-c-cowshed,
I'll be waiting at the k-k-k-kitchen door.
Company, halt! At ease.
Oh, my. That was some hike. I should say.
Yoohoo, Jimmy, Hello!
Oh, look at the fair one. Some doll.
Who is she?
Why, that's Jimmy's bride.
Jimmy, come on over.
I-I-I can't. It's against the r-r-r-rules and r-r-r-regula...
Aw, write it to her.
They'll be sounding taps before he can tell it. Ha...
You better come over here, Katy.
All right, I will.
Say, wouldn't Jimmy make a fine officer?
I'll bet it took him a long time to propose.
He didn't propose.
Who did?
Why, Katydid! Ha...
Oh, Jimmy, oh say can't you get a pass for tonight?
I-I-I d-d-d ... I-I-I d-d-d ... I-I-I d-d-d ... I don't know. I-I-I'll try!
Company, attention! Forward, turn right. March!
K-K-K-Katy, beautiful Katy,
You're the only g-g-g-girl that I adore,
When the m-m-m-moon shines over the c-c-c-cowshed,
I'll be waiting at the k-k-k-kitchen door.
50490-L A Submarine Attack
A jolly bunch of tars are we,
We love to sail the deep blue sea,
And sing (and sing, and sing) so merrily (so merrily).
A sailor's life is so full of joy,
And all the girlies love sailor boys,
That's why (that's why) the reason why (the reason why),
We love to sail the deep blue sea.
All's well! All's well!
Oh, Captain, is the transport in the danger zone yet?
Yes, but while it's more dangerous right here there's danger everywhere on the sea. But don't worry; you Red Cross girls would be the first to be taken care of.
Oh, we're not worrying any more than the boys are.
We're on our way across the foam,
To fight for those we left at home sweet home,
Are we downhearted? No, no, no!
We're doggone glad that we can go.
Say, that's a pretty good song.
But I can sing a better one!
Who are you?
My name's Hicky Hank and I used to sing soprani in our village choir!
Ha...
Well, go ahead and show the boys up, Hank.
Well, I'll be darned if I don't!
I'm Hicky Hank, He's Hicky Hank,
I'm Hicky Hank, He's Hicky Hank,
I'm glad I left the farm to be an A-One fighting man,
I'll come back some day in a Captain's cap,
And I'll take my best gal on my lap,
Lotsa kisses, make her Mrs.,
I'm Hicky, Hicky, Hicky Hank! By Heck!
Ha...
You're all right, Hank. Some singer!
What does he do aboard?
Who, Hank? Why he's a gunner.
Periscope, dead ahead
Pipe all hands to quarters!
A torpedo, Captain, on the starboard bow.
Take a zigzag course. Full speed ahead.
Aye, aye, sir.
(Rumble)
Gosh we missed it by twenty feet.
When you get the range, fire!
Aye, Aye, Sir!
A little short. Try again!
Fire yet!
The u-boat's gone under, we must have hit her.
She's coming up astern!
Fire!
A direct hit.
She's blown to pieces!
Yay! ...
Where's the man that fired that shot?
Here I be, Captain, I'm the feller, Hicky Hank from old Yaphank.
Yes, indeed some boy.
We're on our way across the foam,
To fight for those we left at home sweet home,
Are we downhearted? No, no, no!
We're doggone glad that we can go.
A jolly bunch of tars are we,
We love to sail the deep blue sea,
And sing (and sing, and sing) so merrily (so merrily).
A sailor's life is so full of joy,
And all the girlies love sailor boys,
That's why (that's why) the reason why (the reason why),
We love to sail the deep blue sea.
50494-R We'll Do Our Share (While You're Over There)
Everyone wants a little sunshine,
And we can make it come to stay,
If we all help at one time,
We'll drive the clouds away.
Mothers are smiling though they're longing,
For those who are away,
I know of one who wrote to her son,
Hear what she had to say:
CHORUS:
I'm over here, you're over there,
And every night I say this prayer,
Though I cannot be there,
To bear your troubles and care,
I hope you'll do your share.
It will comfort me so,
You'll always be my baby to me,
In dreams I seem to see,
You back on my knee,
You know the victory must be won,
And it's up to you, my son.
We'll do our share while you're over there.
Picture the boy who gets the letter,
He starts to read, "My darling boy,"
Then he feels so much better,
His heart just fills with joy.
Knowing his mother doesn't worry,
Knowing we're with him too,
By candlelight, he reads every night,
Her letter through and through.
(to CHORUS)
50494-L Bring Me A Letter From My Old Home Town
A nurse was passing by a cot where a wounded Sammy lay,
Lay dreaming night and day, of his old home far away.
She asked him, "Won't you tell me what would drive away that frown?"
The boy replied, as he softly sighed, "To hear from my old town."
REFRAIN:
Bring me a letter from my old home town,
One with some jokes from my old pal, Jim Brown,
Bring me a letter from that girl of mine,
Saying that she's longing for me all the time.
Bring me a letter from my proud old dad,
Who knows that we are winning and I'll bet he's glad.
But more than any other, a line from my old mother,
Bring me a letter from my home town.
(second time to REPRISE)
I've had a lot of comforts, nurse, from my little comfort kit,
And things that women knit, they have always done their bit.
The only thing that cheers me when my spirits are way down,
And I've the blues, is to get good news from those in my old town.
(to REFRAIN)
REPRISE:
Bring me a letter from my proud old dad,
Who knows that we are winning and I'll bet he's glad.
But more than any other, a line from my old mother,
Bring me a letter from my home town.
50503-R It's Never Too Late To Be Sorry
I watched a sweet rose droop and die,
For want of rain and wondered why,
The raindrops, when at last, they came,
Could not restore each bloom again.
You’re like the rose, I’m like the rain,
You won’t give me, and call in vain,
Perhaps you wonder why I’m here,
I’ve come to say I’m sorry, dear.
CHORUS:
It’s never too late to be sorry.
I’m sorry I taught you to care.
I wish I could lift from your shoulders,
The cross I have made you bear.
I can’t mend a heart I have broken.
There isn’t a thing I can do.
But it’s never too late to be sorry,
And God knows I’m sorry for you.
I know on God’s unerring slate,
The charge against me must be great,
And every sinful move I’ve made,
Is entered as a debt unpaid.
But in the Book we all know of,
I’ve found those tender words of love:
“When tears of sweet contrition flow,
Then scarlet sins are made as snow.”
(to CHORUS)
50503-L A Little Birch Canoe And You
The glow is in the West,
The birds have gone to rest,
The hour I love the best is here,
When fancy takes its wing,
When bells of evening ring,
And memory seems to bring you nearer;
And here beside the stream,
Within the sunset gleam,
My one and only dream comes true,
The world is fair and fine,
And all I want is mine,
A little birch canoe and you.
Dreaming dear,
At the close of day I’m dreaming,
Dreaming here,
Where once I stood with you;
Dreaming dear,
And the world with joy is teeming,
While I’m dreaming,
Here by my birch canoe.
The glow is in the West,
The birds have gone to rest,
The hour I love the best is here,
When fancy takes its wing,
When bells of evening ring,
And memory seems to bring you nearer;
And here beside the stream,
Within the sunset gleam,
My one and only dream comes true,
The world is fair and fine,
And all I want is mine,
A little birch canoe and you.
Dreaming dear,
And the world with joy is teeming,
While I’m dreaming,
Here by my birch canoe.
50509-R Let Us Not Forget - A Message To The American People
Thomas A. Edison, the inventor of the phonograph, has never before
permitted his voice to be recorded for the public. Today, however, he
has a message for you that is important enough to cause him to break his
long-established rule. Today, Mr. Edison will now give that message. I beg
to introduce Mr. Thomas A. Edison.
This is Edison speaking. Our boys made good in France. The word American
has a new meaning in Europe. Our soldiers have made it mean courage,
generosity, self-restraint, and modesty. We are proud of the North Americans
who risked their lives to deliver the other world. But we must not forget
and we must not permit demigods to belittle the part played by our gallant allies.
Their casualty lists tell the story. However proud we may be of our own achievements,
let us remember, always, that the war could not have been won if the Belgians,
the British, the French, and the Italians had not fought like bulldogs in the face
of overwhelming odds. The Great War will live visibly in the minds of Americans
for the next hundred years. I hope that when we do run into the memory of our
brave boys who fell in France, we shall not forget that their brothers in arms
who wore the uniforms of our allies. I believe that the national airs of France,
Great Britain, Italy, and Belgium should for all time to come be as familiar to
us as our own “Star-Spangled Banner”.
50516-R Snow Deer
Sweet Snow Deer mine, moon's a-shine through the pine,
While Mohawks sleep, let us creep through the vale.
Your cowboy lover your heart will cover.
Don't hesitate, it is late, ponies wait
For you and me by the tree in the dale.
Hear tom-toms beating, let's hit the trail.
CHORUS:
My pretty Snow Deer, say you will go, dear,
From your side I'll never part, every trail leads to your heart.
It's time to marry, no time to tarry.
Let me carry you from here, my sweet Snow Deer.
(second time repeat)
The red men come, bullets hum, there'll be some
Left on the trail, I can't fail, cling to me.
We'll crown the story with love and glory.
Now after all must I fall, hear my call,
And fly away while we may, can't you see,
Those ranch lights gleaming, safe there we'll be.
(to CHORUS)
50516-L Silver Bell
Beneath the light of a bright starry night,
Sang a lonely little Indian maid,
"No lover's sweet serenade has ever won me."
As in a dream, it would seem, down the stream,
Gaily paddling his tiny canoe,
A chieftain longing to woo, sang her this song:
CHORUS:
Your voice is ringing, my Silver Bell.
Under its spell I've come to tell you
Of the love I am bringing o'er hill and dell.
Happy we'll dwell, my Silver Bell.
(second time repeat)
For many moons, many spoons, many tunes
Woke the echoes of the still summer night.
As down the stream gleaming bright, they floated dreaming.
In his canoe, only two sat to woo,
And they listened to the sigh of the breeze
That seemed to sing in the trees this sweet refrain:
(to CHORUS)
50518-R Oh Helen!
Willie Meek though good at grammar,
When he'd speak he'd always stammer,
And when he tried,
Then he'd be mortified,
He'd call on a girl named Helen,
Most every day.
He'd start sighin' like a dyin'
calf and then he'd say:
Oh Hel... Oh Hel... Oh Helen please be mine,
Your f-feat... your f-feat... your f-features are divine.
I swear... I swear... I swear I will be true,
Oh Dam... Oh Dam... Oh Damsel I love you.
Oh Hel... Oh Hel... Oh Helen please be mine,
Your feat... your feat... your features are divine.
I swear... I swear... I swear I will be true,
Oh Dam... Oh Dam... Oh Damsel I love you.
Oh Hel (Oh Hel) Oh Hel (Oh Hel) Oh Helen please be mine,
Your feat (your feat) your feat (your feat) your features are divine.
I swear (I swear) I swear (I swear) I swear I will be true,
Oh Dam (Oh Dam) Oh Dam (Oh Dam) Oh Damsel I love you.
Helen's daddy went for Willy,
Ripping mad he knocked him silly.
Thought him profane,
He nearly went insane,
But when Willy Meek explained it,
It was all right.
Now her father doesn't bother,
When he says each night:
Oh Hel... Oh Hel... Oh Helen please be mine,
Y-you simp... y-you simp... you simply are divine,
Y-you mutt... y-you mutt... you mutter words so true,
Oh Dam... Oh Dam... Oh Damsel I love you.
Oh Hel... Oh Hel... Oh Helen please be mine,
You simp... you simp... you simply are divine,
You mutt... you mutt... you mutter words so true,
Oh Dam... Oh Dam... Oh Damsel I love you.
Oh Hel (Oh Hel) Oh Hel (Oh Hel) Oh Helen please be mine,
You simp (you simp) you simp (you simp) you simply are divine,
You're not... you're not... you're not so much that's true,
Oh Dam (Oh Dam) Oh Dam (Oh Dam) Oh Damsel I love you.
50518-L How 'Ya Gonna Keep 'Em Down On the Farm After They've Seen Paree?
Reuben, Reuben, I've been thinking,
Said his wifey dear;
Now that all is peaceful and calm,
The boys will soon be back on the farm;
Mister Reuben, started winking,
And slowly rubbed his chin, by heck!
He pulled his chair up close to mother,
And he asked her with a grin, Say!
How ya goin' to keep 'em, down on the farm,
After they've seen Paree? Say!
How ya goin' to keep 'em away from Broadway,
Jazzin' aroun', and paintin' the town?
How ya goin' to keep 'em away from harm?
That's a mystery.
They'll never want to see a rake or plow,
And who the deuce can parley vous a cow?
How ya goin' to keep 'em down on the farm,
After they've seen Paree?
Reuben, Reuben, you're mistaken,
Said his wifey dear;
Once a farmer, always a jay,
And farmers always stick to the hay;
Mother Reuben, I'm not faking,
Though you may think it strange;
But wine and women play the mischief,
With a boy who's loose with change. Say!
How ya goin' to keep 'em, down on the farm... Heh, heh.
Why, Mother! What seems to be the matter? Mother! What is it? Tell me.
Oh, Nothing.
Oh, yes there is now. Come on, out with it.
Well, it's just this. How is it that you appear to know so much about jazzing around, as ya call it, and paintin' the town, and this here parley vooin', hmph, whatever that is.
Oh, I see. Well, now, hmph, hmph. Well, you see, Mother, why by gosh, I guess I put my foot in it. Why, hmph. Why uh, I heard Deacon Treadway talkin' about it.
Oh, ya did?
Hmm.
Well, excuse me, Reuben.
Oh, that's all right, Mother, mistakes are bound to happen in the best of families.
Ha, ha, ha...
But say,
How ya goin' to keep 'em, down on the farm,
After they've seen Paree? Say!
How ya goin' to keep 'em away from Broadway,
Jazzin' aroun', and paintin' the town?
How ya goin' to keep 'em away from harm?
That's a mystery.
Imagine Reuben when he meets his pa,
He'll kiss his cheek and holler "oo-la-la!"
How ya goin' to keep 'em down on the farm,
After they've seen Paree?
50537-R Anything Is Nice If It Comes From Dixieland
Every winter you will notice that the birdies in the sky,
To the south will always fly.
Now perhaps you're wondering why?
It's a land of sunshine and the only place a real wise bird should be.
There's a lot of good things waiting there (down there) for you and me:
Just to make our clothes the cotton grows in dear old Alabam',
Each hungry mouth looks to the South for sweet Virginia ham.
From Tennessee comes melody that's played by every band,
And if you're talking of chicken, Oh! Maryland.
Louisiana sugar is sweeter than the rose,
Just thank old Carolina that's where Bull Durham grows.
If you're dreaming of a girl to love that's the place to win her hand,
Take my advice, anything is nice if it comes from Dixieland.
Dixie, Dixie is a garden far away from snow and ice.
It's a perfect paradise and the home of everything nice.
Everybody loves it 'cause they know about its many different charms,
Like a mother she will welcome you (she will) with open arms.
Just to make our clothes the cotton grows in dear old Alabam',
Each hungry mouth looks to the South for sweet Virginia ham.
From Tennessee comes melody that's played by every band,
And if you're talking of chicken, Oh! Maryland.
Louisiana sugar is sweeter than the rose,
Just thank old Carolina that's where Bull Durham grows.
If you're dreaming of a girl to love that's the place to win her hand,
Take my advice, anything is nice if it comes from Dixieland.
From Tennessee comes melody that's played by every band,
And if you're lookin' for chicken, Oh! Maryland.
If you're dreaming of a girl to love that's the place to win her hand,
Take my advice, anything is nice if it comes from Dixieland.
50537-L Have A Smile For Everyone You Meet And They Will Have A Smile For You
When you're blue and things go wrong with you,
Don't try to share it, grin and bear it,
And your dreams are sure to come true.
When you're sad, just make believe you're glad,
And all the world will smile with you.
CHORUS:
Have a smile for everyone you meet,
And everyone will have a smile for you.
Every mile along life's busy street
Is filled with friendship true.
Each tomorrow brings new sorrow,
So why borrow tears? The thing to do is:
Have a smile for everyone you meet,
And they will have a smile for you.
(1st time repeat CHORUS)
When you fear the days because they're drear',
Don't you regret it, just forget it,
And the sun is sure to appear.
Pride and pluck will always bring good luck,
So keep on smiling while you're here.
(to CHORUS)
50549-R Tears
Tears may mean a heart is broken,
Tears may drive the blues away.
Tears may fall when you remember,
One you loved in a bygone day.
And there are tears that cry for kisses,
Like the rose for the rain above.
But the tears I prize in someone's pretty eyes,
Are the beautiful tears of love.
(repeat)
50549-L Mary
Mary, Mary, you're the girl for me,
Mary, Mary, Paradise I see,
Every time I look into your roguish eyes,
Sure I can see you're planning on some new surprise.
You darling Mary, Mary, sweetest name I know,
Mary, Mary, fair as flowers that grow,
Oh, you little Irish daisy, you're driving me crazy,
Pretty Mary, I love you so.
(repeat)
Every time I look into your roguish eyes,
Sure I can see you're planning on some new surprise.
Oh, you little Irish daisy, you're driving me crazy,
Pretty Mary, I love you so.
50577-R Why Did You Come Into My Life?
I wonder if you really know how hard 'tis to forget,
Those loving, precious hours, which fill me with regret;
Your voice speaks to me from the breeze, your lips smile with the rose:
Can hearts so soon forget the past, your heart must surely know.
REFRAIN:
Why did you come into my life and teach me,
The dearest, sweetest of love's melodies,
Why did you show to me love's deepest pleasures,
When I was, Oh! so happy and carefree;
Why did you show to me a glimpse of Heaven,
And open wide the gates of Paradise:
My heart, it knew no sorrow or love's madness,
Why did you, did you come into my life?
There is a kiss from lips I miss which woke my slumb'ring heart,
I miss a glance from eyes of blue, from them 'tis hard to part;
I miss a tender, loving smile, a gentle, sweet caress,
But oh, what anguish tears my heart, your lips I cannot press.
(to REFRAIN)
50577-L When I Met You
Down the shady pathway in the valley,
Two sweethearts strolled content and free from care.
Were dreaming love's young dream, of a cottage by the stream,
The song of birds and fragrance filled the air.
And he told the story old,
The sweetest ever told:
REFRAIN:
I've seen the Roses of Picardy,
I've seen the poppies of Flander's Field,
I've seen the shamrock of Erin's Isle,
I've seen the lotus that only Egypt can yield,
I've seen the sunset in purpling skies,
I've seen the love light in Mother's eyes,
I've seen the woodland, the brook, the heavens of blue,
But they all faded away like a dream when I met you.
In a quiet home down in the valley,
Two sweethearts sat within the fire light's glow,
In the sunset of their lives, far away from stress and strife,
Were living o'er the days of long ago.
They were dreaming of the day,
When first she heard him say:
(to REFRAIN)
50584-R Breeze (Blow My Baby Back To Me)
It's an ill wind that blows nobody good, (nobody)
Blows nobody good they say. (no good they say)
If anybody knows I certainly should,
'Cause it blew my gal away. (away)
Breeze (that lovely breeze) that blew my gal away, (my gal away)
I've had the blues all day (the blues all day) since early morn. (since early
morn, and I feel so lost)
You came (you came) a'whispering through the trees, (the trees)
When I woke up this morning she was gone. (left the home-sweet-home, and I'm
all alone)
Breeze, (you wicked breeze) you blew her from my side.
She was my blushing bride, so hear my plea.
Hear me beggin' you upon my knees,
Blow her back, sweet evening breeze.
Blow my baby back to me.
It's an ill wind that blows nobody good, (nobody)
Blows nobody good they say. (no good they say)
I said a little prayer right down on my knees,
Just to blow her back to me. (to me)
Breeze, (you wicked breeze) you blew her from my side.
She was my blushing bride, so hear my plea.
Hear me beggin' you upon my knees,
Blow her back, sweet evening breeze.
Blow my baby back to me, sweet evening breeze.
50584-L Ragging the Chopsticks
Music teachers, music creatures, here's a song for you.
Every kiddie knows this ditty, and you know it too.
Don't be guessin', it's a lesson, and it's something new.
It won't take long to learn this song, now here's just what you do.
You've heard chopsticks, plain old chopsticks,
Played by every kid.
It may sound strange, but times have changed,
Here's something that I did.
I took a chop, and took a stick,
And shook 'em in a bag.
And when I finished with the trick,
I found I had a rag.
First you play this strain, try it once again,
And you'll find you have a sweet refrain.
Then it goes like this, and it goes like that.
If you follow me you won't go flat.
Now comes chopsticks, ragtime chopsticks,
With two fingers, just like fiddlesticks.
Tick, tick, tick, tick, like a clock tick,
It's an easy trick.
And now there's eenie meanie minie moe,
Catch him by the toe.
If he hollers let him go,
The rest of the words I don't know.
Back to chopsticks, ragtime chopsticks,
With two fingers, just like fiddlesticks.
Tick, tick, tick, tick, like a clock tick,
It's an easy trick.
Ragging the chopsticks, it's got the kick!
50586-R That Tumble-Down Shack in Athlone
I'm a long way from home, and my thoughts ever roam
To old Erin far over the sea;
For my heart it is there, where the skies are so fair,
And old Ireland is calling for me.
CHORUS:
Oh! I want to go back to that tumble-down shack
Where the wild roses bloom round the door;
Just to pillow my head in that old trundle bed.
Just to see my old mother once more.
There's a bright gleaming light guiding me home tonight,
Down the long road of white cobblestones;
Down the road that leads back to that tumble-down shack,
To that tumble-down shack in Athlone.
There are eyes that are sad as they watch for a lad
In the old-fashioned town of Athlone;
And I pray for the day when I'm sailing away
To old Ireland and mother, my own.
(to CHORUS)
50586-L Did You Mean All You Told Me Last Night?
Sweetheart it pains me to question you,
but I seem to doubt you, Dear.
Last night when you said that you loved only me,
was all that you whispered sincere?
Did you mean every fond caress,
can you really and truly say yes?
REFRAIN:
Did you mean every thing that you told me,
last night when you said you'd be true?
Did you mean every word that my anxious heart heard,
every kiss that you gave to me, too?
Are the castles I built all to vanish,
will my hopes and my dreams be belied?
I just want to know, for I do love you so,
did you mean all you told me last night?
Tell me, must I go on dreaming, Dear,
yes, dreaming of love and you?
How can I believe that you really love me,
as much as you've said that you do?
Is all of my happiness mine,
Did you mean every word, every line?
(to REFRAIN)
50593-L Taxi--One-Step
Taxi! Taxi!
Taxi! Taxi!
(repeat three times)
50603-R See Old Man Moon Smile
(Whistle) I wonder where that gal is? I done walked up and down here so
much that my socks are spats.
Doo-doo-doo-doo-doo-doo.
Oh, there she is now. Hello there, honey.
Hello, son.
Say, where you been, honey?
Oh, I been out lookin' at the cows.
Well, how is all the cows and little cowlicks?
Oh, they's all well. How's all your folk?
Oh, my folks is well. Here, here, honey. My folks ain't no cows. Say, baby.
Papa's gonna take you to a party tonight.
You ain't gonna take me to no party. The last time you took me to one you
disgraced me.
How come I disgraced you?
What did you do when that nice lady asked you to pass her the nutcracker?
Well, what did I do?
You turned right around and passed her a beer bottle.
Well, that was the best nutcracker I could find. Ha... But what did you say
when that nice lady passed you the ice cream?
What did I say?
You say, "Lady, I always likes my pudding hot."
Oh, I ain't said that, I ain't that ignorant.
Gal, you so ignorant, you ain't got no brains.
Yes, and if brains was a disease, you'd have the leprosy.
Ah, now honey, don't go let's arguefy, cause:
Honey the moon am shining.
I can see it, I ain't blind.
Honey my heart am pinin'.
Man, you done lost your mind!
Now, honey, if you go to the party with me (Hmph!)
Let all our high-tone rivals see. (Yes?)
In a week or two, (What will you do?)
That's when I'll marry you. (Such nerve!)
Come on, honey. I ain't your honey.
See Old Man Moon smile.
I can see him smilin'. Yeah I'm whilin'.
You ain't got no style.
When we get to the party we'll make things hum.
And if they start a'fightin' that's when you'll run.
No, I won't! Oh yes, you will!
I say I won't! I say you will!
Come on, honey. Don't call me honey!
See Old Man Moon smile.
Why won't you go to the party with me, honey?
'Cause you a coward. You come from a running family. I saw your old daddy
runnin' so fast one day that when he turned the corner his vest pocket dipped
sand.
Yeah, and your old pappy run so fast that they see the bottom of his feet so
often that they think he's layin' down.
Is that so? Keep on and I'm going to hit you so hard that your shirt'll run up
and down your back like a window shade.
Yeah, and if I ever swing this wicked left of mine at you and miss ya, the
breeze from it will give you pneumonia.
Keep on pestercating and one more clean shirt's going to do you!
Hmm! That woman mean, there. I better square myself. Say, honey, come on. Give
me a little kiss.
Well, coax me.
Coax you? Shucks! I'm a nigger that don't have to coax no woman to kiss me,
'cause the ladies calls me "Sweet Papa Charlie", tree top tall and
black, but sweet, Oh Lord!
Yeah, and don't forget that I'm some high yellow and chocolate to the bone.
Yeah, you is that, honey. I will admit.
Come on, honey. I ain't your honey.
See Old Man Moon smile.
I can see him smilin'. Yeah I'm whilin'.
You ain't got no style.
You know I loves you honey, and my heart is right.
Yes, every time I see your face I get a fright.
No, you don't! Oh yes, I do!
I say you don't! I say I do!
Come on, honey. Don't call me honey!
See Old Man Moon smile.
50603-L I've Got My Captain Working For Me Now
Johnny Jones was a First Class private,
In the Army last year.
Now he's back to business in his father's place.
Sunday night I saw him with a smiling face.
When I asked why he felt so happy,
Johnny chuckled with glee.
He winked his eye, and made this reply:
"Something wonderful has happened to me."
I got the guy who used to be my captain,
Working for me.
He wanted work, so I made him a clerk,
In my father's factory.
And by and by I'm gonna have him
Wrapped in work up to his brow.
I make him open the office every morning at eight,
I come around about four hours late.
Everything comes to those who wait.
I got my captain working for me now.
He's not worth what I have to pay him,
But I'll never complain.
I've agreed to give him fifty dollars per.
It's worth twice as much to hear him call me "Sir."
While I sit in my cozy office,
He's outside working hard.
Out in the hall at my beck and call,
With a feather duster standing on guard.
I got the guy who used to be my captain,
Working for me.
He wanted work, so I made him a clerk,
In my father's factory.
And by and by I'm gonna have him
Wrapped in work up to his brow.
When he comes into the office he gets up on his feet,
Stands at attention, and gives me his seat.
Who was it said, "Revenge is sweet!"
I got my captain working for me now.
50606-R Daisies Won't Tell
There's a sweet old story you have heard before,
Here among the daisies let me tell it o'er:
Only say you love me, for I love you well,
Answer with a kiss, dear, daisies never tell.
REFRAIN:
Daisies won't tell, dear, come kiss me do,
Tell me you love me, say you'll be true,
And I will promise always to be
Tender and faithful, Sweetheart, to thee.
In a dream I fancied you were by my side,
While I gathered daisies one long chain you tied.
Round us both I wound it, close I held you, too.
Daisies never tell, Dear, make that dream come true.
(to REFRAIN)
50606-L Put On Your Old Grey Bonnet
On the old farm house veranda there sat Silas and Miranda,
Thinking of the days gone by.
Said he "Dearie don't be weary, you were always bright and cheery.
But a tear, dear, dims your eye."
Said she "they're tears of gladness Silas, they're not tears of sadness,
It is fifty years today since we were wed."
Then the old man's dim eyes brightened and his stern old heart it lightened
As he turned to her and said:
CHORUS:
"Put on your old grey bonnet with the blue ribbon on it,
While I hitch old Dobbin to the shay,
And through the fields of clover, we'll drive up to Dover
On our golden wedding day."
(repeat CHORUS)
It was in the same old bonnet with the same blue ribbon on it,
In the old shay, by his side,
That he drove her up to Dover through the same old fields of clover,
To become his happy bride.
The birds were sweetly singing and the same old bells were ringing,
As they passed the quaint old church where they were wed.
And that night when stars were gleaming, the old couple lay a dreaming,
Dreaming of the words he said.
(to CHORUS)
50607-R Floatin' Down To Cotton Town
I just dropped in to see you all and say,
I leave today, I'm on my way. (I'm on my way)
I'm goin' back to sunny Dixieland,
That's why I came to shake you by the hand. (you by the hand)
The minute when I cross that Dixie Line,
No more I'll pine, won't that be fine?
Mister Captain, don't fail me, just hurry and sail me,
To that gal of mine.
Floatin' down, my honey, floatin' down,
Floatin' on the river down to Cotton town.
Just hear that whistle (toot, toot) tootin' away,
And those darkies singin', banjos ringin' till the break of day.
Honey lamb, my little honey lamb,
I'll come back to you and Alabam';
While fields of sugar cane seem to welcome me again,
Floatin' down to Cotton town.
Just see those southern roses 'long the shore,
There's just one more I'm longin' for. (I'm longin' for)
The cotton blossoms in the moonlight fair,
Remind me of my Mammy's snow white hair. (my Mammy's head)
Just hear that music 'neath the Southern moon,
While darkies croon a Dixie tune.
Mister Captain, you've hurried, but don't keep me worried,
Land me there right soon:
Floatin' down, my honey, floatin' down,
Floatin' on the river down to Cotton town.
Just hear that whistle (toot, toot) tootin' away,
And those darkies singin', banjos ringin' till the break of day.
Honey lamb, my little honey lamb,
I'll come back to you and Alabam';
While fields of sugar cane seem to welcome me again,
Floatin' down to Cotton town.
Floatin' down, my honey, floatin' down,
Floatin' on the river down to Cotton town.
Just hear that whistle (toot, toot) tootin' away,
And those darkies singin';
Honey lamb, my little honey lamb,
I'll come back to you and Alabam';
While fields of sugar cane seem to welcome me again,
Floatin' down to Cotton town.
50607-L You're My Gal
Everybody's going to the picnic today.
Gwine to have jolly time.
Yes, and some jazz band to make up jazz.
And the singing will be fine.
Ha, ha. And the singing will be fine.
Look out son, You'll pop a mainspring!
Gal, let's harmonize a little.
All right, I'm ready.
All ready, let's go.
Har-mo-ny.
Ha, ha, ha. Ha, I'm a singer, ain't I boy?
You is that and you's my gal.
Your gal? Hmph! I wouldn't have you cause you got cancers on the hair!
What you mean by cancers on the hair?
You can't comb it and don't you try.
Is that so? Well don't forget that I'm a handsome fastidious gentleman.
Handsome? Why coon, if I was as ugly as you I'd look up to the good Lord and
ask to be dismissed.
You might do that but still you's my gal.
Never count your chickens before they hatch.
Now that's a fine way to talk. That ain't the way to say that!
Well, how should I have said it?
You should have said never calculate on your juvenile poultry before the proper
process of incubation has been fully materialized.
Man, you's the cat's number when it comes to talk, ain't you?
Gal, I knowed Mr. Webster well.
Say you did?
Yeah, I used to run with his dogs.
Aw, go on coon, you got the swinney.
Only horses get the swinney.
I know, but mules get it too.
Well I ain't no mule.
No, your ears are too long.
Yeah, my ears are too ... gal, they ain't too long!
Well they'll grow.
Yeah, they'll ... They won't grow!
Listen, gal to the steamboat whistle.
I can hear it, Henry Jones.
You know that means there's a picnic today.
I know that, Henry Jones.
So I've come to take my gal (Hmph!) to that jubilee.
Where is she?
You're my gal, now ain't you, Sal?
Man, be on your way.
You're my gal. Don't make me laugh, Henry Jones.
I'll call you Sal. Make me lose my happy home.
You know I loves you honey like I never did before.
I swear you like the rent man always knocking at my door.
You're my gal. Wait'll Charlie sees you.
I don't care nothing about him.
You say you don't well listen Mister man.
Charlie's second name is Samson and he sure can fight.
If I swing my wicked left at him he'll die of fright.
Who, Charlie? Yes, Charlie!
And I'll still say you're my gal.
You sure is a persistent coon. You know, you make me sick.
Well, you don't make me feel any too well.
Is that so! And another thing, coon, you don't know how to love.
I don't know how to love, huh? Well, listen gal. What it takes to love, I'm
broke out with it. And you know, you only brung that other guy in to make me
jealous, because you know that ...
You're my gal. Don't make me laugh, Henry Jones.
I'll call you Sal. Make me lose my happy home.
You know I loves you honey like I never did before.
I swear you like the rent man always knocking at my door.
You're my gal. Wait'll Charlie sees you.
I don't care nothing about him.
You say you don't well listen Mister man.
Charles was born in Texas, raised in Tennessee.
And he'll die in Alabama if he messes with me.
Who, Charlie?
Yes, Charlie! And I'll still say you're my gal.
Yes, I'm your gal.
50610-R Golden Gate (Open for Me)
Many dreams I dreamt, many days I spent,
By the Golden Gate away out west.
Flowers all year round everywhere are found,
There I left the ones that I love best.
Golden Gate, Golden Gate, by the sea,
Someone's waiting, waiting there for me.
When my good ship comes a'sailing,
Happy I will be.
Open wide, swing aside, Golden Gate,
Hear me calling, calling to my mate.
So drive away sadness, bring back the gladness,
Golden Gate, open for me.
Every day a year, every sigh a tear,
Since I left the land of sunny clime.
Days just seem to fly, clouds have drifted by,
I'll be back in orange blossom time.
Open wide, swing aside, Golden Gate,
Hear me calling, calling to my mate.
So drive away sadness, bring back the gladness,
Golden Gate, open for me.
50610-L Granny
Most every night I turn down the light. Why?
So I can sit there and dream.
I always see you. Do you see me, too?
Somehow your face seems to beam.
REFRAIN:
Granny my own, I seem to hear you calling me.
Granny my own, you are my sweetest memory.
When my mammy used to droop her eyes, tired as she could be.
Then I'd creep right up into your arms, and you'd croon to me.
When I'm alone I long to kiss your silvery hair.
Granny my own, you were in every single prayer.
If up in heaven angels reign supreme, among the angels you must be the queen.
Granny my own, I miss you more and more.
Can't hold my tears back, can't bring the years back,
Still I'm not lonesome or blue.
You must be near me, I know you hear me.
My guiding star must be you.
(to REFRAIN)
50611-R I've Made Up My Mind To Mind A Maid Made Up Like You
Wonderful girls, I've met them and I gave them all my heart.
Wonderful boys, I loved them and they fooled me from the start.
Goodbye to Vampire beauties, not for me.
No more the Broadway cuties, I can see.
I bid them adieu, I want only you. Well!
I've made up my mind to mind a modest maid made up like you. Yes?
There's nobody else will do. No?
There's nobody else but you. You're sure?
There's nobody else, there's nobody else but you,
Can put me through the little things you do. Oh!
I've made up my mind to mind a modest maid made up (Lovely!) like you dear,
just you.
Well, what do you say?
Well, I also have, uh ...
Made up my mind to mind a modest boy made up like you. Yes?
There's nobody else will do. No?
There's nobody else but you. You're sure?
There's nobody else, there's nobody else but you,
Can put me through the little things you do. Oh, ho!
I've made up my mind to mind a modest boy made up (Lovely!) like you dear, just
you.
I've made up my mind to mind a modest maid made up like you.
There's nobody else will do.
There's nobody else but you.
There's nobody else, there's nobody else but you,
Can put me through the little things you do.
I've made up my mind to mind a modest maid (boy) made up like you dear, just
you.
50611-L My Desert Love
Shadows, deep purple shadows,
A silver moon shows where the Nile.
Incense enthralling, romance is calling,
Calling in voice divine, the choice is mine.
REFRAIN:
Desert Love, the moon above,
Wakens wondrous memories.
Star dimpled waters of that olden Nile,
Recall the radiance of your golden smile.
Egypt's skies are in your eyes,
Flashing bits of paradise.
Ah! What bliss is in your kisses,
My own little Desert Love.
Flower of Egypt's bower,
Through every hour my love is true.
Comes night a'stealing, God's light revealing,
Love's light glows on anew, you know it, too.
(to REFRAIN)
50628-R Pretty Little Rainbow--Waltz
Pretty little Rainbow, let me see you smile again.
I'll kiss your tears all away.
Like a ray of light that's shining through the night,
You're guiding me on Love's way.
To the little place where I have built a little home,
All that I need there is you.
The light that's in your eyes can make a paradise,
of my wigwam that's built for two.
(repeat)
50638-R You'd Be Surprised
Johnny was bashful and shy.
Nobody understood why
Mary loved him.
All the other girls passed him by.
Everyone wanted to know
How she could pick such a beau.
With a twinkle in her eye
She made this reply:
"He's not so good in a crowd but when you get him alone,
You'd be surprised.
He's kind of scared in a mob but when he talks on the phone,
You'd be surprised.
He doesn't look like much of a lover,
But you can't judge a book by its cover.
He's got the face of an angel
But there's a devil in his eyes.
He's such a delicate thing but when he squeezes your hand,
You'd be surprised.
He's scared to death in a boat but when you get him on land,
You'd be surprised.
At a party or at a ball
I must admit he's nothing at all.
But when he takes you home,
You'd be surprised."
Mary continued to praise
Johnny's remarkable ways
To the ladies,
And you know advertising pays.
Now Johnny's never alone.
He has the busiest phone.
Almost every other day
A new girl will say:
"He's not so good in a crowd but when you get him alone,
You'd be surprised.
He's kind of scared in a mob but when he talks on the phone,
You'd be surprised.
I know he looks as slow as the Erie,
But you don't know the half of it, Dearie.
He's got the face of an Eskimo,
But there's fire in his eyes.
He doesn't say very much but when he starts in to talk,
You'd be surprised.
He isn't much standing still but when we're out for a walk,
You'd be surprised.
I'll admit he doesn't look smart,
He don't impress you right from the start,
But in a week or two,
You'd be surprised."
50638-L Sahara
King Ramses went to pieces seven thousand years ago,
And passed a law that Egypt must go dry.
He took the liquors from the "Slickers" all the way to Jericho,
But kept his little toddy on the sly.
The desert of Sahara flowed with honey so they say,
Till prohibition came along and dried it up one day.
Sahara, we sympathize with you.
Sahara, we'll soon be dry like you.
I know why Cleopatra put that snake against her skin.
She lost her mind completely when she lost her Gordon Gin.
Omar Khayyam took a leap into his caravan,
Grabbed his jug of wine and then he flew.
And ever since all those Egyptians move their funny arms so queer.
They got that way from reaching for imaginary steins of beer.
Sahara, Sahara,
We'll soon be dry like you.
All the fakirs turned milk shakers when they heard the awful news.
No more the Arabs sang Mohammed's praise.
The camels halted and revolted when they took away the booze,
And traveled without water seven days.
They brought the news to Cairo and the folks were all surprised.
The shock was so intense they say they all got paralyzed.
Sahara, we sympathize with you.
Sahara, we'll soon be dry like you.
I know why Cleopatra put that snake against her skin.
She lost her mind completely when she lost her Gordon Gin.
Omar Khayyam took a leap into his caravan,
Grabbed his jug of wine and then he flew.
Now I've found out the reason for the silence of the mighty Sphinx.
Her throat got dry, she couldn't talk when they came and took away her drinks.
Sahara, Sahara,
We'll soon be dry like you.
(I've got the old Sahara prohibition blues.)
50639-R You Are Free
Free as the birds in the air,
Flying with never a care,
Wand'ring about like the evening breeze,
Through the trees where we please,
Follow our whims while we may,
'Tis the happiest way,
Fortune has smiled from the sky above,
For neither of us is in love.
REFRAIN:
Love is just a game we two are playing.
Love is nothing but a game of chance.
For the one who chooses very often looses,
Love is never sure to be romance.
Danger always lurks in Cupid's arrows,
But he hasn't aimed at you and me.
If you are thinking of some other girl to love,
You may always know that you are free.
Someday of course you will find,
Love has left friendship behind.
Just how it happens no one can say,
But someday there's a way.
Love is a tyrant I know,
And I'm glad it is so.
When you are captured your freedom ends,
So let us go on being friends.
(to REFRAIN)
50639-L Little Girls, Good Bye
Where is the man who is glad to bow to the plan,
That he give up all of his life to his wife,
From his wedding day?
Why should he try when he can't forget with a sigh,
All his old loves. Ask any man for the truth,
And he will say:
I love the girls, girls, girls just the same,
And being wed cannot kill the flame.
There is the same old charm in flirtation,
With a maid half afraid.
And when she looks at me with a smile,
I know it's girls make life worth the while.
Now I must leave them, forget them, but love them,
A husband I, little girls, good bye.
I love the girls, girls, girls just the same,
And being wed cannot kill the flame. (kill the flame)
There is the same old charm in flirtation,
With a maid half afraid.
And when she looks at me with a smile,
I know it's girls make life worth the while.
Now I must leave them, forget them, but love them,
A husband I, little girls, good bye.
Now must I part from the girls who, deep in my heart,
I have thought I'd love all my life, for my wife,
Never would agree.
Many a man has declared he knows that he can,
Give his past up. That may be fine for the rest,
But not for me.
I love the girls, girls, girls just the same,
And being wed cannot kill the flame. (kill the flame)
There is the same old charm in flirtation,
With a maid half afraid.
And when she looks at me with a smile,
I know it's girls make life worth the while.
Now I must leave them, forget them, but love them,
So dearest girls, good bye.
50646-R How Sorry You'll Be
I'm going to leave you, (What, again?) I'm going away.
I'll let you, but I'll bet you that you'll regret this day.
This isn't the first time, you've said that before. (I know it!)
Stop crying. I'm not crying, you're through forever more.
Wait'll you see (What'll I see?) how different I can be.
Wait'll you miss those kisses that you got from me.
You think you're clever. For me you cry.
But now you'll never (Never what?) find a tear in my eye.
Just wait'll you see (What'll I see?) the smile upon my face. (Don't make me
laugh.)
You'll change that smile when someone else has filled your place. (Don't be so
sure.)
And when you realize you can't come back to me, (Don't threaten me.)
How sorry you'll be, (How sorry you'll be!) just wait'll you see.
You think 'cause we're parting, I'm lonesome and blue.
I know you, so I'll show you, what I intend to do.
I'll get a new sweetheart. (Yes, they're easily found.) I know it.
Keep going. (I'm sure going.) And don't come hanging round.
Wait'll you see (What'll I see?) how different I can be.
Wait'll you miss those kisses that you got from me.
You'll miss those dinners. Yes, you're some sport.
I'll miss those dinners you nearly bought.
And wait'll you see (What will I see?) the smile upon my face. (Don't make me
laugh.)
It won't be long before you're calling round my place. (You're off your vase.)
And when you see me on some other sweetie's knee, (What's that to me?)
How sorry you'll be, (How sorry you'll be!) just wait'll you see.
Just wait'll you see (What'll I see?) the smile upon my face. (Don't make me
laugh.)
You'll change that smile when someone else has filled your place. (Don't be so
sure.)
And when you realize you can't come back to me, (Don't threaten me.)
How sorry you'll be, (How sorry you'll be!) just wait'll you see.
50646-L Was There Ever A Pal Like You
Mother, Dear, it's lonely here without you.
Days and nights are long, everything goes wrong.
All I seem to do is think about you.
Dearest friend I knew, oh, how I miss you.
REFRAIN:
Was there ever a pal like you?
Was there ever a gal like you?
You taught me the right from the wrong way,
You showed me the short from the long way.
Was there ever a flower that grew
Half as pure as your heart so true.
They needed an angel in heaven,
So they sent for a pal like you.
Mother, Dear, my love for you grows dearer,
Dearer day by day, since you went away.
Everyday an angel draws us nearer,
Just a while, and then we will meet again.
(to REFRAIN)
50651-R Swanee
I've been away from you a long time,
I never thought I'd miss you so.
Somehow I feel your love was real,
Near you I long to be.
The birds are singing, it is song time,
The banjos strummin' soft and low,
I know that you yearn for me too;
Swanee, you're calling me.
Swanee, how I love you, how I love you,
My dear old Swanee.
I'd give the world to be
Among the folks in D-I-X-I-Even though my
Mammy's waiting for me, praying for me,
Down by the Swanee.
The folks up north will see me no more,
When I go to that Swanee shore. (I'll be happy, so happy)
Swanee, Swanee, I am coming back to Swanee.
Mammy, Mammy, I love the old folks at home.
Swanee, Swanee, I am coming back to Swanee.
Mammy, Mammy, I love the old folks at home.
I'd give the world to be
Among the folks in D-I-X-I-E Dixie.
The folks up north will see me no more,
When I go to that Swanee shore. (I'll be happy, so happy)
I am coming back to Swanee.
I love the old folks at home.
Swanee, Swanee, I am coming back to Swanee.
Mammy, Mammy, I love the old folks at home.
50651-L When My Baby Smiles At Me
I'm happy as can be.
I see you're mighty gay.
My life is one sweet melody.
Tell me, how do you get that way?
I've found a treasure rare.
It must be worth the while.
Say there is nothing can compare.
With what? My baby's smile.
For when my baby smiles at me. (Ya-ha-ha-ha)
Your thoughts go roaming to paradise.
Oh, when my baby smiles at me. (Ya-ha-ha-ha)
You see a wonderful light in her eyes.
The kind of light that means just love.
The kind of love (the kind of love) that brings sweet harmony. (I see)
I sigh, (you sigh) I cry, (and cry) it's just a glimpse of heaven,
When my baby (my baby) smiles at me.
And speaking of smiles, as our old friend James Whitcomb Riley remarked, "Smile awhile, and while you smile, another smiles, and soon there'll be miles and miles of smiles because you smiled."
There's the smile of the baby that seems heaven sent;
The smile of the landlord who's after his rent;
The smile of the doctor who fills you with pills;
And the smile that you lose when he sends you the bills;
The smile of a man who's on needles and pins;
Till the nurse with a smile comes and tells him, "They're twins!"
The smile of a mother when her baby croons;
And the smiles that we got in the corner saloon.
But Bill, you forgot! Don't it seem quite a while?
Well, yes, eh. But you'll admit that the thought should be good for a smile.
But I know one smile in a class all alone. It's the wonderful smile of a sweetheart, my own.
For when my baby smiles at me. (she smiles at me)
My thoughts go roaming to paradise.
(my thoughts go roaming, go roaming to paradise)
Oh, when my baby smiles at me.
(baby, baby, she smiles at me)
There's such a wonderful light in her eyes. (her starry eyes)
The kind of light that means just love. (that means just love)
The kind of love (the kind of love) that brings sweet harmony.
I sigh, (I sigh) I cry, (I cry) it's just a glimpse of heaven,
When my baby (sweet and pretty) smiles at me. (Ya-ha-ha-ha)
Baby.
50664-R Pickaninny Blues
The moon is sailing low (sailing low)
Where Southern breezes blow (breezes blow),
It's twilight round the cabin door (it's twilight round the cabin door).
When silvery stars appear (stars appear)
I hear my Mammy dear (Mammy dear),
A'singing as in days of yore.
And it seems again I'm on her knee,
And she's crooning this sweet melody (this sweet melody):
Oh, rock-a-bye my honey (rock-a-bye my honey),
While close to Mammy's breast (close to Mammy's cotton breast),
The fields of snowy white (snowy white),
Are gleaming through the night (through the night).
So close your eyes (close your eyes),
My dusky little pickaninny.
Sweet (hush-a-bye) magnolias swaying (magnolias swaying),
The birds have gone to rest (they have gone to rest).
Just drift and dream on Slumber Stream,
While Mammy sings the Pickaninny blues.
Oh, rock-a-bye my honey (rock-a-bye my honey),
While close to Mammy's breast (close to Mammy's cotton breast),
The fields of snowy white (snowy white),
Are gleaming through the night (through the night).
So close your eyes (close your eyes),
My dusky little pickaninny.
Sweet (hush-a-bye) magnolias swaying (magnolias swaying),
The birds have gone to rest (they have gone to rest).
Just drift and dream on Slumber Stream,
While Mammy sings the Pickaninny blues.
The Pickaninny blues.
50664-L Underneath The Moon
Underneath the moon on our lagoon, Dear;
Gliding side by side upon the tide, Dear;
In the silvery glow, singing sweet and low,
Love's romantic tune, Dear.
Underneath the moon with shadows creeping;
Making love while all the world is sleeping;
Come along my Dear, I am waiting here,
Waiting underneath the moon.
Moon, night and you, moonlight for two;
Life's one wonderful song while we paddle along.
Two hearts entwine, yours, Dear, and mine;
Moonbeams, love dreams, waiting underneath the moon.
Underneath the moon on our lagoon, Dear;
(under, underneath the silvery moon)
Gliding side by side upon the tide, Dear;
(Gliding side by side on our lagoon)
In the silvery glow, singing sweet and low,
(Moonbeams' glow and singing sweet and low)
Love's romantic tune, Dear.
(Love's tune in June, my dearie)
Underneath the moon with shadows creeping;
(Under, underneath the silvery moon)
Making love while all the world is sleeping;
(We two, making love while others sleep)
All along my Dear, I am waiting here,
(All along my Dear, I'll be waiting here)
Waiting underneath the moon.
(Underneath the moon)
Underneath the moon on our lagoon, Dear;
(under, underneath the silvery moon)
Gliding side by side upon the tide, Dear;
(Gliding side by side on our lagoon)
In the silvery glow, singing sweet and low,
(Moonbeams's glow and singing sweet and low)
Love's romantic tune, Dear.
(Love's tune in June, my dearie)
Underneath the moon with shadows creeping;
(Under, underneath the silvery moon)
Making love while all the world is sleeping;
(We two, making love while others sleep)
Come along my Dear, I am waiting here,
(Come along my Dear, I'll be waiting here)
Waiting underneath the moon.
(Underneath the moon)
50675-R Sing Us A Song Of Bonnie Scotland
Far away on distant prairie lands,
Where the nighttime shadows grew,
Sat a rough but merry crowd of men,
Singing the songs they knew,
Till the fiddler stopped his merry tune;
And turning round said he,
To a Highland laddie, standing by,
Jus awa' frae old Dundee:
REFRAIN:
"Sing us a song of Bonnie Scotland,
Any old song will do,
Round the old camp fire,
A rough and ready choir
Will join in the chorus too.
Then you'll tak' the high road and I'll tak' the low,
It's a song that we all know,
'Twill remind us of Bonnie Scotland,
Where the heather and the bluebells grow."
(2nd time repeat REFRAIN)
"Now won't you sing 'Loch Lomond' for the boys?"
Said the fiddler, "and I'll play.
Give us 'Bonnie Mary of Argyle',
Or dear 'Auld Robin Gray.'"
But the lad was dreaming all the while
Of his dear native shore,
And the bonnie lassie he loved well,
Till these words he heard once more:
(to REFRAIN)
50675-L When I was Twenty One
Oh! I'm not so young as I used to be when I was in my prime;
Although I'm turning auld and grey I've had a lovely time.
To kiss a bonnie lassie I was never shy.
The lad that doesn't love a lassie is not the real McKay.
REFRAIN:
Oh! When I was twenty one (huh!) when I was twenty one,
I never had lots of money, but I had always lots of fun.
Oh, I was a harum-scarum, and my courting days begun,
On the very, very, very nicht when I was twenty one.
Ha... Aye, those were the good old days. I remember one Sunday in the little village church. The new minister was preaching his first sermon and he was very nervous. He preached about feeding the five thousand people with the five loaves and the three fishes, and he got everything all twisted and he said they fed five people with five thousand loaves and three thousand fishes. Ha... I looked up and said, "Hmmm, that's nothing, I could do that myself."
He gave me a very indignant glance and went on with his sermon. Now the following Sunday he thought he'd preach again from the same text, and this time he got everything all right, and told about feeding the five thousand people with the five loaves and the three fishes. And then he looked down at me and said, "Well Sandy, and do you think you could do that?"
"Why, of course I could," says I.
"Oh, you could, could you? Well perhaps you would tell us how would you do it?"
"Why," says I, "I could feed them of what was left over from last Sunday."
Ha... Oh my, things are seeming new-a-days. I went to see the doctor the other day about this bad cough of mine. He said, "How old are you now, Sandy?"
I said, "Eighty-five."
Eighty-five!" said the doctor, "Well, run away home and be thankful you're able to cough."
Ha... Oh, Aye, but it gives me great pleasure to
look back to the days:
(to REFRAIN)
50678-R When You're Gone I Won't Forget
When you're gone I won't forget you,
And I'll miss you when you go.
I recall the day you met me,
When you said you loved me so.
Once my heart was in your keeping,
And perhaps you love me yet.
Far from me you'll soon be roaming,
When you're gone I won't forget.
REFRAIN:
When you're gone I won't forget you,
When from me you're far away.
Every night I will remember
All the things you used to say.
And my thoughts will keep on straying
To the day when first we met.
Though you leave me broken-hearted,
When you're gone I won't forget.
Once my heart was filled with gladness,
And the world seemed bright and fair.
In my life there was no sadness
For you brought me dreams so rare.
Golden days we passed together,
Moments dear when first we met.
Though you leave me now forever,
When you're gone I won't forget.
(to REFRAIN)
50678-L Whispering Hope
Soft as the voice of an Angel,
Breathing a lesson unheard,
Hope with a gentle persuasion
Whispers her comforting word.
Wait till the darkness is over,
Wait till the tempest is done,
Hope for the sunshine tomorrow
After the shower is gone.
CHORUS:
Whispering hope (whispering hope, whispering hope),
Oh how welcome thy voice (welcome thy voice, oh how welcome thy voice).
Making my heart (making my heart, making my heart),
In its sorrow rejoice. (repeat)
If in the dusk of the twilight,
Dim be the region afar,
Will not the deepening darkness
Brighten the glimmering stars?
Then, when the night is upon us,
Why should the heart sink away?
When the dark midnight is over
Watch for the breaking of day.
(to CHORUS)
50682-R So Long, Oo Long (How Long You Gonna Be Gone?)
Ming Toy loved a boy,
Happy little Japanee;
Oo-long was his name,
Set her heart aflame.
One day he say,
"Soon I gotta go away;"
When he leave Ming Toy grieve;
Everybody hear her say:
REFRAIN:
"So long! Oo-long, how long you gonna be gone?
Your little Japanee will be waiting underneath the bamboo tree;
So don't be too long, Oo-long I'll long while you're away,
Waiting for the day when you'll come back to me.
I'll sit and sigh 'neath the Oriental sky,
Each day that I am left alone in Naki Saki.
So long! Oo-Long, How long you goin' to roam?
Please don't be too long Oo-long, so long, hurry back home."
Days fly quickly by,
Turning into lonely years;
Though the nights are long,
Ming Toy's faith is strong.
She kneels and feels,
That she doesn't pray in vain;
Whispers "Oo, I love you,
Ming Toy wants you back again."
(to REFRAIN)
50682-L That Naughty Waltz
Hold me tightly, swing me lightly,
To that naughty waltz;
So entrancing, seems like dancing,
In the moonlight on a June night;
How it thrills me! How it fills me,
With its mellow charms!
You know dearest, heaven's nearest,
When I'm in your arms.
REFRAIN:
Oh play again that naughty waltz,
And play it soft and low;
Oh say again, "I love you, dear,"
The sweetest words I know;
Oh please repeat your promise sweet,
That you will ne'er be false,
And take me in your arms again,
And waltz and waltz and waltz.
To be ever thus together,
Is my fondest dream;
Skies are brightened, sorrows lightened,
While they're playing and we're swaying;
But the gladness turns to sadness,
When the music halts;
So, my dearie, let's be cheery,
While they play that waltz.
(to REFRAIN)
50683-R There's A Typical Tipperary Over Here
Mike O'Rourke left County Cork to sail across the foam,
And now it's been a year since he got over here.
One day from dear old Ireland Mike received a little note,
They asked him how he liked it here so he sat down and wrote:
There's a typical Tipperary, a typical Dublin Bay,
A typical County Kerry in the good old U.S.A.
Although you're many miles from where the shamrocks grow,
You'll find an Irishman no matter where you go.
There are typical Irish colleens with typical Irish ways,
There's a bit of Blarney, too.
From way out 'Frisco to New York, they walk and they talk just like in Cork,
You'd think that you were home in Ireland.
Mike O'Rourke when he left Cork said "Faith, I won't be lost,
I'm going to a place that loves the Irish race."
When he got here and saw so many Irish everywhere,
It made him feel at home, that's why he wrote back over there:
There's a typical Tipperary, a typical Dublin Bay,
A typical County Kerry in the good old U.S.A.
There's Jim A'Little O'Ryan and Michael Donaghue,
George M. Cohan then there's Thomas Dempsey too,
Then there's wonderful John McCormack and Gibbs L. McAdoo,
And they're Irish through and through.
And if you want an Irish street just walk up along Delancey Street,
You'd think that you were home in Ireland.
There are Irish diplomats, typical Irish democrats,
Irish judges and police be guarding the Irish asleep in the street.
On the stage are Irish stars, all of the Irish run the cars,
Irish strikers are the thing for they are the champions of the league.
They've got Irish on the screen, even the money here is green.
They've got everything you know,
But He makes the Hebrews who get all the dough.
There's a typical Tipperary, a typical Dublin Bay,
A typical County Kerry in the good old U.S.A.
Although you're many miles from where the shamrocks grow,
You'll find an Irishman no matter where you go.
There are typical Irish colleens with typical Irish ways,
There's a bit of Blarney, too.
From way out 'Frisco to New York, they walk and they talk just like in Cork,
You'd think that you were home in Ireland.
50683-L Pretty Kitty Kelly
Somewhere in Ireland far over the sea,
A sweet little colleen is waiting for me;
When I went away I said it won't be long,
Sure all day it's me who keeps singing this song.
REFRAIN:
Pretty Kitty Kelly, she's the only girl for me;
Pretty Kitty Kelly, she is all my eyes can see;
For there's not a colleen sweeter in the land where shamrock grows;
Than my pretty Kitty Kelly, she's my wild Irish rose.
(2nd time repeat)
I wrote a letter to Kitty my own,
And told her that I'd soon be startin' for home
I know when she reads it, 'twill sure make her smile,
Oh, Faith and I can't help but sing all the while.
(to REFRAIN)
50686-R Daddy You've Been A Mother To Me
I just can remember my mother,
Angels one day took her away.
You took her place with a smile on your face,
That's why I'm happy to say:
Daddy, dear old Daddy,
You've been more than a daddy to me.
You might have gone with the boys every night.
You gave them up just to bring me up right.
Daddy, dear old Daddy,
Way up above she can see,
You were more than a dad, you're the best friend I had,
Daddy, you've been a mother to me.
The leaves of the autumn are falling,
Deep in your eyes are winter skies.
You were my friend, always there to defend,
I'll be your boy till the end.
Daddy, dear old Daddy,
You've been more than a daddy to me.
You might have held someone else on your knee.
You keep a place there for no one but me.
Daddy, dear old Daddy,
Way up above she can see,
You've been more than a pal, you've been more than a gal,
Daddy, you've been a mother to me.
50686-L Hiawatha's Melody Of Love
Where the summer skies tenderly kiss the pines that rise slenderly,
By a forest stream Indian lovers came to dream.
'Neath the moon aglow in the long ago,
They sang of love sweet and low.
CHORUS:
And the song they sang was Hiawatha's melody,
Just a golden memory of the days that used to be.
As they sat entranced beneath the weeping willow tree,
Every leaf up above seemed to tremble with love.
And the evening breeze sang Hiawatha's melody,
Sang it sweet and tenderly like a lover's rosary.
Now the songbirds in Spring still remember and sing
Hiawatha's melody of love.
Hiawatha roamed tearfully, gazed upon the spot fearfully.
On a moss-bound throne Hiawatha pined alone.
Willow boughs bent low, from them seemed to flow
Music to banish his woe.
(to CHORUS)
50689-R Uncle Josh's Birthday
Nancy, I thought I heard someone talking. Did you hear it?
Well, you’re getting a pretty bad tick when you get to hearing things.
Well, I’m goin’ down to the cellar to get some cider and doughnuts. I could a’ swore I heard someone talking.
Well, go on down, you won’t hear any talking down there, unless you’re talking to yourself. And then you won’t hear much. Ha...
Smart, ain’t ya? Shut the door after me.
Well, do, la, do, la, do, la, do. Come on in, folks. He’s down in the cellar now.
This is a good one on Josh!
Yes, we fooled him this time.
Gosh as my godfather’s boss would say, how many birthdays you had, Nancy?
Twenty-nine. Ha...
Gosh, your birthday must come on Leap Yearl. Ha...
Well say, play a little tune on your Jews harp, Clem.
I lost the key and I can’t tune the darn thing up. But here she goes.
Hush, hush, he’s comin’ up.
Open the door. Don’t you see I’ve got my hands full?
Ha... What ya been doin’ in the cellar, Josh?
Milkin’ the cow.
Oh, gosh. I thought you was mowin’ hay. Ha...
Thar now, I told Nancy I heard talking. What’s all this about?
It’s your birthday, Josh.
Aye, so it is. Well, I’m getting along, but I don’t feel it.
Well, maybe you don’t. But I’m telling Cookie you can’t sing and dance like ya used to.
>Can’t, aye? Got your instruments with you?Yep.
Well, when you get them all tuned up. I’ll show you.
On a winter’s night when the weather’s clear,Who’s that dancing with Mandy?
That’s the answer to the maiden’s prayer.
Huh! She didn’t pray for much, did she? Ha...
Pick ’em up Silas, lay ’em down deep.Just give me room, give me room and I’ll show you some stepping.
Pretty lady, pretty lady
Pick ’em up Silas, lay ’em down deep.50689-L Ragtime At Pun'kin Center
Ha... Well, along last winter, when we was haven’ our Lyceum Bureau and Export at Pumpkin Center, the Lyceum committee sent a feller over to our house to put up overnight. Ezra Hoskins’ tavern was full that night, both rooms was taken. Ha...
We never kept any of the opera show troupe folks, but we kept any of the Lyceum Bureau actors what the committee sent, He was a long, slim feller. Looked as though he might burn his foot, and his head wouldn’t find it out ’til the next day. He would of made a good hand at apple pickin’, but he wouldn’t be much use in a strawberry patch. Well he made himself right at home in our house. He called Nancy mother, and told a lot of rightful theater jokes. Gosh, I ain’t laughed so much in a long time. He told one joke, well, it was more of a riddle than a joke. It was, “Why does a mouse spin?” I told him I couldn’t see any sense to that, and he said, “Thar ain’t any. That’s the joke!” Ha...
Then he sat down to our piano, folded up a couple yards of them legs of his, so he could get his feet on the levers, and started a’playin’ what he called Ragtime. I never thought any human being could get as much music out of anything as he got out of that piano. He played “Listen to the Mockingbird” so it just sounded like all the birds in the world was singin’, and our canary pretty near went crazy trying to keep up with him. By that time most of the neighbors had come in, and Nancy got so excited she let her cake burn, and the jelly boiled over.
He played like a church organ, and it was so natural that Deacon Witherspoon started to take up a collection. Ha... Well, he started something goin’ in Pumpkin Center, Ab Slocum plays rag on his mouth organ, Lige Willis plays it on his fiddle. Down at the grocery store they have a game of checkers called the Ragtime Move. The children march into school to a tune called the Education Rag, the bus rags down to the depot and rags back, they’ve got a new dance called Shake a Rag. Ha...
Down at the tavern when 9:00 comes, Ezra Hoskins says, “Well, shuttin’ up time, everybody rag. The barbershop quartet have a new song, it goes something like this:
There was an old feller and he had a song,
And the name of the song was rag.
From the top of his head to the toes of his feet,
His clothes were only rags.
He ragged around in a ragged way,
Made ragged nibbles from day to day.
And all he was ever heard to say,
Was rags, rags, rags.
Ha... Last week at Sarah Willet’s wedding, Jim Lawson played the Wedding March in ragtime. No tellin’ where it will stop. The doctor says there ain’t no cure for rag. Ha...
50699-R Moonlight In Mandalay
'Neath your skies tender eyes are burning,
Oh Mandalay, my Mandalay!
'Neath your palms slender arms are yearning,
And I am far away.
Star of dreams! Send your beams o'er the sea;
Shine above one I love tenderly.
Silver eyes long for my returning,
Across the moonlit bay.
Oh, take me back to Mandalay,
My land of dreams;
Where palm trees sway and moonbeams play,
On silvery streams.
With lips aflame, oh, let me claim,
The heart I stole away,
One summer's night in the pale moonlight,
In Mandalay.
Day by day two lips pray for my love,
In Mandalay, my Mandalay!
Where she cried when I said, "Goodbye love",
And sadly sailed away.
How the charms of her arms haunt me still!
How the bliss of her kiss brings a thrill!
For there's none like the one that I love,
In moon-kissed Mandalay.
With lips aflame, oh, let me claim,
The heart I stole away.
50699-L Tripoli
Open the portals of memories,
Let the old honeymoon flow;
Let's wander back to old Tripoli,
And bring back the sweet long ago.
REFRAIN:
Floating on the bay at Tripoli,
Sweethearts you and I;
Just a little paradise for two,
'Neath the Italian skies;
Vesper bells were a'ringing,
Choir voices were singing;
While the moon above just spoke of love,
On the shores of Tripoli.
(first time repeat REFRAIN)
Just like a beautiful melody,
Haunting me all the day through;
Though I am haunted by Tripoli,
When I am dreaming of you.
(to REFRAIN)
50704-R Down The Trail To Home Sweet Home
When fortune you dreamed of has cast you aside,
And you are left drifting along with the tide,
Your castles have fallen; all hope seems in vain,
You're trying to find your bluebird again?
Would you like to go back to home sweet home,
Where the world and your friends are true, (friends are true)
And down the lane to stroll again,
Where Mother waits for you (waits for you).
When you've lost in the game of gold and fame,
And you're weary of fighting alone,
When the tears come I know then the heart aches to go,
Down the trail to Home sweet Home.
When you are successful, the world's at your feet,
And friends by the million will make life complete;
But if the wind changes, you're left all alone,
Till you get a word from Mother back home.
Would you like to go back to home sweet home,
Where the world and your friends are true, (friends are true)
And down the lane to stroll again,
Where Mother waits for you (waits for you).
Home, home, sweet, sweet home,
When the tears come I know then the heart aches to go,
Down the trail to Home sweet Home.
50704-L In Old Manila
Take me where the silver moon is beaming,
And a million stars are gleaming in the tropic sky.
Take me where the mission bells are ringing,
Tender recollections bringing of the days gone by.
Someone is calling me, it seems,
Back to the land of dreams.
In old Manila, down beside the moonlit bay,
In old Manila, after twilight ends the day,
A voice is calling, o'er the summer sea,
And on the breeze sweet memories, drift back to me.
Guitars are playing, dreamy love songs that entrance,
And dark eyes straying, thrill my heart with just a glance,
Two lips are pressed to mine, with kisses so divine,
In old Manila, land of sweet romance.
Take me where the silver moon is beaming,
And a million stars are gleaming in the tropic sky.
Take me where the mission bells are ringing,
Tender recollections bringing of the days gone by.
Someone is calling me, it seems,
Back to the land of dreams.
Guitars are playing, dreamy love songs that entrance,
And dark eyes straying, thrill my heart with just a glance,
Two lips are pressed to mine, with kisses so divine,
In old Manila, land of sweet romance.
50717-R Baby Dreams
When the shadows are falling,
melting sunshine away.
Sandman's drowsy voice is calling,
weary little people must obey.
CHORUS:
Baby dreams are stories told,
in a land that's never old.
Close those eyes, those wonder eyes,
sleep will bring a sweet surprise.
Funny clowns and princes gay,
marching by in bright array.
Golden boat on silver stream,
Pretty baby dreams.
(Repeat CHORUS twice)
50722-R Pickaninny Rose
Close yo' eyes and go to sleep, Mmm ...
Oh the stars am hiding, clouds am driftin' by,
But the angels watch will keep,
Put your head on Mammy's breast, Mmm ...
Never mind the shadows, nothing's goin' to harm,
Just you hold your little hands and rest.
REFRAIN:
Hear de raindrops fallin' pitter patter,
But the sun am shining in my heart,
You're Mammy's baby, you're Mammy's honey,
Now don't you let your cryin' start,
Smile, my honey, while the wind am sighin',
'Cause your Mammy gwine to hold you close,
Hear the owl go hoo-ooh, Mammy'll sing to you-ooh,
You're my little Pickaninny Rose.
You am wide awake, it seems, Mmm ...
Now why don't ya cuddle, and go rock-a-bye,
Bathin' in your cheerful dream.
Shadows dancing on the wall, Mmm ...
Ought to make you sleepy, while your Mammy's near,
Just to answer, Honey, when you call.
(to REFRAIN)
50722-L The Bells Of St. Mary's
The bells of St. Mary's at sweet eventide,
Shall call me, beloved, to come to your side.
And out in the valley in sound of the sea,
I know you'll be waiting, yes, waiting for me.
The bells of St. Mary's. Ah! Hear they are calling,
The young loves, the true loves, who come from the sea.
And so, my beloved, when red leaves are falling,
The love bells shall ring out, ring out for you and me.
And so, my beloved, when red leaves are falling,
The love bells shall ring out, ring out for you and me.
At the porch of St. Mary's I'll wait there with you,
In your soft wedding dress with its ribbons of blue.
In the church of St. Mary's sweet voices shall sing,
For you and me, Dearest, the wedding bells ring!
The bells of St. Mary's. Ah! Hear they are calling,
The young loves, the true loves, who come from the sea.
And so, my beloved, when red leaves are falling,
The love bells shall ring out, ring out for you and me.
And so, my beloved, when red leaves are falling,
The love bells shall ring out, ring out for you and me.
50763-R Margie
You can talk about your love affairs.
Here's one I must tell to you.
All night long they sit upon the stairs,
He holds her close and starts to coo:
CHORUS:
My little Margie, I'm always thinking of you, Margie.
I'll tell the world I love you.
Don't forget your promise to me,
I have bought a home and ring and everything for
Margie, you've been my inspiration,
Days are never blue.
After all is said and done there is really only one.
Oh, Margie, Margie it's you.
(REPEAT)
You can picture me most every night.
I can't wait until they start.
Everything he says just seems so right,
I want to learn that stuff by heart.
(to CHORUS)
50763-L In The Heart Of Dear Old Italy
Hearts beat everywhere, from our parents true,
Some faithful, too, but very few.
True love's everywhere, but there's one heart beyond compare.
I found devotion in Italy, where sweet romance fills the air.
CHORUS:
In the heart of dear old Italy,
There's a loving heart that's waiting there for me.
In that land of love and melody,
There 'neath sunny skies two sparkling eyes I see.
Oh, the fragrance of those wondrous skies,
As we whispered of our love so tenderly.
Though apart, oh, how I long for you, Sweetheart,
In the heart of old Italy.
(2nd time repeat)
Love's sweet ecstasy drives all care away,
Makes nature gay, and guides my way.
Like sweet fantasy, brings sweet moments of bliss to all.
I found my heart's ease in Italy, dear days of love I recall.
(to CHORUS)
50771-R Blue Jeans
Far in the hills of the old Cumberland,
Long, long ago there we strolled hand in hand.
I called her Blue Jeans, a wild mountain rose.
I wonder now if she knows (wonder if she knows) I'm sighing:
Blue Jeans, the days are lonely.
Blue Jeans, I dream of you.
The wildwood May days and childhood play days,
Those golden summer hours we knew.
Songbirds are softly calling,
Down where the grass is blue (the grass is blue.)
The trail up yonder, we used to wander,
There, pretty Blue Jeans, I'll wait for you.
Songbirds are softly calling,
Down where the grass is blue (the grass is blue.)
The trail up yonder, we used to wander,
There, pretty Blue Jeans, I'll wait for you. (I'll wait for you.)
Springtime is here and the birds in the trees,
Still sing to me all the old melodies.
Far down the trail there I wander alone,
But olden joys long have flown (they long have flown), Still I sing:
Blue Jeans, the days are lonely.
Blue Jeans, I dream of you.
The wildwood May days and childhood play days,
Those golden summer hours we knew.
Songbirds are softly calling,
Down where the grass is blue (the grass is blue.)
The trail up yonder, we used to wander,
There, pretty Blue Jeans, I'll wait for you.
Blue Jeans, the days are (Since you went away I'm lonely, Honey dear, I want
you only.)
Blue Jeans, I dream of you (Promise me that you'll be true.)
The wildwood May days and childhood (For you, Dear, my heart is yearning, how I
long for your returning.)
Those golden summer hours we knew.
Songbirds are softly (I can hear them softly calling, happy days with you
recalling.)
Down where the grass is blue (in the fields where I'm with you.)
The trail up yonder, we used to wander,
There, pretty Blue Jeans, I'll wait for you. (I'll wait for you.)
50771-L Hey Paw!
Yea! Lightning wins! Yea! (Applause)
That's the best horse race I ever seen at any county fair.
'Tis hey?
Yes, 'tis.
Well, how about that one back in '82?
Oh, quit your darn reminiscining. Ha...
Peanuts, by the bag. Get your cold beer, cold beer. Popcorn, by the bag.
Popcorn, by the bag. (Whistle)
Little attention, folks. Come up a little closer, that's right. I want to
announce the feature of the day: Cy Holbrook's Singing Orchestra. And most of
them live right around here.
They're darn good, too. I heard them rehearse.
Say, I heard they played in the city!
All right, Cy. Toot away.
Oh, I sold my load of garden truck,
And bought a brand new suit of clothes at Sears Roebuck.
All the chores are fetched and the milking's done,
I'm going up to town to have some regular fun.
Hitch the rig to the old grey mare.
Drive right up to the courthouse square.
Get some peanuts and some tutti fruit,
And start right out a'stepping on a gosh darn toot.
Oh gosh, by gosh, Coca Cola, I'm full of pep. Whoa!
Hey Paw, where's my paper collar?
Hey Paw, where's my hard-boiled shirt?
Hey Paw, got a half a dollar?
I'm goin' out a girlin', I'm a gosh darn flirt.
Hey Paw, guess I better hustle.
Hey Paw, I'll be out till eight o'clock.
Hey Paw, bet your granny's bustle.
If I 'twas broke a foot, my ankles all in hock.
(REPEAT)
Reuben, Reuben, I've been thinking, I'm full of pep. Whoa!
Hey Paw, where's my paper collar?
Hey Paw, where's my hard-boiled shirt?
Hey Paw, got a half a dollar?
I'm goin' out a girlin', I'm a gosh darn flirt.
Hey Paw, guess I better hustle.
Hey Paw, I'll be out till eight o'clock.
Hey Paw, bet your granny's bustle.
If I 'twas broke a foot, my ankles all in hock.
Hey Paw!
50808-R I've Got The Travelling "Choo-Choo" Blues”
I haven’t got a cozy flat,
Where I can hang my coat and hat.
I’ve been a rover the world over,
And believe me I don’t live in clover.
I seldom lay my head,
On a nice soft feather bed.
I’ve got a home that runs on wheels,
Where they don’t serve home-made meals.
It’s train on track two,
Ding! Dong! Choo! Choo!
Let me tell you how it feels:
It’s Louisville to Nashville,
Birmingham to Knoxville,
All aboard, all aboard,
That’s all I ever hear.
Somebody yelling in my ear,
I maybe meet a nice boy where I am,
And then I get a telegram,
To go to Alabam’,
I only see my Mother, Daddy and my Brother,
For a day, then I’m away.
I have to wait until they,
Send me the news.
I’m off again, on again,
Just like a rabbit.
In again, out again,
Guess I got a habit.
That’s why I’ve got those travelling,
Choo Choo Blues.
Now let me tell you, on the square.
I’m never here, I’m always there.
I’m like a sailor aboard a whaler,
Doggone, all my love affairs have been a failure.
I very seldom see,
Any face that’s dear to me.
I know it really is a shame,
To be in this here travelling game.
It’s good-bye, I’ll go,
I’ll try, I know,
Every day is just the same.
It’s Louisville to Nashville,
Birmingham to Knoxville,
All aboard, all aboard.
I’m just a rolling stonel,
Nobody cares just where I’m goin’.
I meet a handsome fellow,
Who looks great.
He calls me up and finds,
That I am in another state.
I’m always going thru’ towns,
Always going thru’ towns.
I meet the Yaps, the Boobs and Saps.
I have to listen to,
The local, statebound mules.
I met a boy who looked me up,
In Lincoln, Nebraska.
I went away, when I came back,
He was in Alaska.
Oh, that’s why I’ve got those travelling,
Choo Choo Blues.
I only see my Mother, Daddy and my Brother,
For a day, then I’m away.
I have to wait until they,
Send me the news.
I’m off again, on again,
Just like a rabbit.
In again, out again,
Gee it’s just a habit.
That’s why I’ve got those travelling,
Choo Choo Blues.
50808-L Arrah Go ’Long With You
Mike O’Hare and Katy Clare,
Were sitting along one night.
Said Mike it’s grand to hold your hand,
Said Kate, “Well hold it tight.”
For me to hold, then Mike grew bold,
His arm went round her waist.
“One kiss,” said he,
“Not forward”, answered she.
Said Mike, “Sure I’d like a kiss.”
But Katy turned away and dropped her head,
She rolled her Irish eyes and softly said:
Arrah go ’long with you,
I’ve never been kissed.
Arrah go ’long with you,
That’s something I’ve missed.
Once I heard me dear mother say,
Go on Killarney kisses away.
Oh my, bye, do ye see me breathing me eyes?
Arrah go ’long with you,
And leave me alone.
Say you must think that I’m the Blarney Stone.
Go away, go ‘long,
There’s one little thing,
I might extend a kiss for a ring,
My, oh my, do you see any green in me eyes?
Mike O’Hare said, “I declare you’re certainly driving me mad.”
Says I to this, I want that kiss,
Yes, want it twice as bad.
Said Katy, “Now, is that so?
Your wanting you’ll soon regret.”
Your folks said go out of their head.
From wondering what they found yet.
Said Mike, “A kiss won’t kill you.” Katy spoke.
Said Katy, “Here’s your hat, don’t slam the door.”
Arrah go ’long with you,
So you want a kiss.
Arrah go ’long with you,
I’m telling you this.
Kneel, fool, and give them away,
Setting a net for me wedding day.
For now bride, do you see in me dreamy eyes?
Arrah go ’long with you,
Now when you’re droll.
Sure you’re messing up the Blarney with your brew,
Go away, go ‘long,
You’re wasting your time.
You’ll get a kiss when wedding bells chime.
My, oh my, do you see any green in me eyes?
Arrah go ’long with you,
Now ain’t you droll.
Sure you’re messing up the Blarney with your brew,
Go away, go ‘long,
You’re left in a lurch,
When I kiss you it will be in a church.
My, oh my, do you see any green in me eyes?
50812-R In A Monastery Garden
Kyrie eleison,
Kyrie eleison, eleison.
Kyrie eleison,
Kyrie eleison, eleison.
Kyrie eleison,
Kyrie, Kyrie, eleison.
50819-R Molly On A Trolley
Molly was a girl you had to jolly, or she had no use for you.
Molly, there was something melancholy in her dreamy eyes of blue.
And if your heart was aching for a kiss,
You'd have to hand her chatter just like this:
REFRAIN:
Molly, you are a wonderful pal, wonderful pal to me.
No one knows where you buy your clothes, your two lips know, I suppose.
Molly, you're like a dolly to me, under a Christmas tree.
There's nothing in the world I really wouldn't do for you,
I'd even wear a tie to match your eyes of baby blue.
Molly, I'd ride to Kalamazoo, on a trolley, by Golly, with you.
(fa, la, la,,,)
No one knows where you buy your clothes, your two lips know, I suppose.
(fa, la, la,,,)
There's nothing in the world I really wouldn't do for you,
I'd even wear a tie to match your eyes of baby blue.
Molly, I'd ride to Kalamazoo, on a trolley, by Golly, with you.
Molly was a little dressed up dolly and she lived on baby talk.
Molly loved the flavor and the folly of a spoony moonlight walk.
Molly had a parrot by the way,
And this is what she taught the bird to say:
(to REFRAIN)
50819-L Yo-Lay-Ee-Oo (Means I Love You)
This is a melody ringing,
Loud and clear, in my ear,
And all the time I keep singing,
Night and noon, just one tune, a little yodel, that funny yodel.
When you hear Yo-lay-ee-oo,
You know it means I love you,
Just that queer Yo-lay-ee-oo,
Seems all day long that's always the song I'm singing.
When you're gone an echo new,
Proves that I'm thinking of you.
If it's true you love me too,
Then yodel "Yo-lay-ee-oo."
This little tune's so entrancing,
Is the craze, now-a-days,
Makes everybody start dancing,
Here and there, everywhere, you hear them yodel, that funny yodel.
When you hear Yo-lay-ee-oo (lay-ee-oo),
You know it means I love you,
Just that queer Yo-lay-ee-oo (lay-ee-oo),
Seems all day long that's always the song I'm singing.
When you're gone an echo new (lay-ee-oo),
Proves that I'm thinking of you.
If it's true you love me too,
Then yodel "Yo-lay-ee-oo."
(lay-ee-oo)
(lay-ee-oo)
When you're gone an echo new (lay-ee-oo),
Proves that I'm thinking of you.
If it's true you love me too,
Come on and yodel "Yo-lay-ee-oo."
50855-R Plantation Lullaby
When the shadows have fallen on meadow and dale,
And the moon softly glows in the skies,
When the whispering trees tell their story to me,
And the old whippoorwill sadly cries,
Then the sweet scented breeze wafts an old melody;
O'er the cotton field white, in the still of the night,
And I hear my old Mammy, she's singing once more,
Her "Plantation Lullaby."
Rock-a-bye, my baby, Sandman's coming soon,
Close your little eyes and sleep.
Mammy holds you closely cradled in her arms,
As the shadows 'round you creep.
Hush-a-bye, my baby, hear your Mammy croon,
Sleep, my honey, don't you cry.
May the angels bless you while your Mammy rests you,
With her old plantation lullaby.
Mmm (Rock-a-bye, baby),
Close your little eyes and sleep.
Mmm (Rock-a-bye, baby),
As the shadows 'round you creep.
Cutest little fella, everybody knows,
Don't know what to call you, but you're "Mighty like a rose."
Hush-a-bye, my baby, hear your Mammy croon,
Sleep, my honey, don't you cry.
May the angels bless you while your Mammy rests you,
With her old plantation lullaby. (Lullaby)
50855-L Ten Little Fingers And Ten Little Toes
Oh Boy, I got good news from home today!
Is that the reason you act gay?
Yes sir, I'm so happy, feel so snappy.
Tell me what they had to say!
I'd like to stand right up and shout!
Well go ahead pal, let it out.
You'll think it is simply great, just want to congratulate!
What's it all about?
Why I've got ten little fingers, and ten little toes,
Boy, that's some surprise, you're in Paradise.
I never had a baby call me "Da-da."
How proud you're gonna be, (you said it!) when you bounce it on your knee,
Oh gee! I'll kiss every finger,
Yes, you'll kiss every toe,
At home sweet home I'll linger,
And they'll need you there I know;
He only weighs about ten pounds and just one day old,
But he's worth more to you than all the world and its gold,
For I've got ten little fingers, and ten little toes,
Waiting down in Tennessee for me.
I'm leaving town this very day,
I hope that there'll be no delay.
I'm going to get my ticket, double quick it.
Wish you good luck on your way.
I long to see my little prize,
And look into those baby eyes,
Just try to imagine me, back home in old Tennessee,
Boy, that's paradise!
For I've got ten little fingers, and ten little toes,
Down in Tennessee, waiting there for me,
Oh, how I'll hold it, in my arms enfold it,
When night time shadows creep, you'll lull it fast asleep,
And then I'll kiss every finger, I'll kiss every toe,
Close to his side I'll linger for he'll want me there I know,
If he looks like his mother what a child he must be,
If he looks like you then he's got my sympathy,
Oh I've got ten little fingers and ten little toes,
Waiting down in Tennessee for me.
Go to sleep my baby, o-lay-dee, o-lay-dee,
Like a baby 'neath,
It's ma-ma-ma.
Ha... Yes, Bill, that's just how I need those,
Ten little fingers and ten little toes,
Waiting down in Tennessee for me!
50858-R Bonnie Maggie Tamson
I've just popped in to tell you
O' my latest love affair.
It's a' aboot a bonnie lass
I met wi' ginger hair.
I stole her frae another chap
That had her at the fair,
And if the weddin' was the nicht
I'm sure I would na care.
REFRAIN:
There's no another lassie like the lassie that I love.
I never met another half so handsome.
She's just as sweet as honey,
And I'm savin' all my money
Since I started courting bonnie Maggie Tamson.
We got our photo taken
And I wish that you could see,
The way the photographer
Has her seated on my knee.
When I showed it to my mither,
How she laughed, and then said she,
"That's absolutely how yeer faither
Used to do wi' me."
(to REFRAIN)
Of course I told you I met her at the fair. Well, you know what a fair is: a lot o' folks and a lot o' shows. Well, we'd all been in seeing the Fat Lady and the Skinny Man, and coming out in the crush Maggie let her umbrella fall, so I picked it up, and said, "I'll hold it for you."
She said, "No, you don't! I lost one like that last fair."
Ha... Then we went into another show to see the
Sword Swallower; so when the show was crammed, a woman come out and said the
Sword Swallower would not appear as the last sword he swallowed was still
sticking in his gizzard. Ha... Then we all left, only the fellow that was
along wi' Maggie, he waited to argue wi' the woman to get his money back -- it
was him paid for us going in. So it was the time he was arguing that Maggie and
me give him the slip. Ha... Then I took her on the Steeplechases. Then she
screamed and nearly fell off. Then I made to grab her, and we both fell off. Ha
... And what a lucky fall for me! The man was coming round for the money at the
time. Then I took her home. Then I kissed her on the way. Then I gave her
another kiss. Then she gave me one, with her umbrella. Then I squeezed her at
her mother's door and broke all the ribs o' her umbrella. And I've been kissing
her ever since, and so would you, for it's 'cause I told you that:
(to REFRAIN)
50858-L The Portobello Lassie
I met a bonnie lassie on the Portobello Pier,
She was lovely and looked so shy.
I was sorry for her, that's as sure as I am here,
So I just walked over and I winked my eye.
She was standing blushing, and she giggled and she sighed,
I said, "My lassie, it's a braw bricht nicht."
Then I slipped my arm aroond aboot her and to kiss her tried.
Then we both went strollin' in the pale moon light.
Then I cuddled her, she cuddled me.
I am as happy as a sailor on the sea,
For the Portobello lassie says she's goin' to marry me.
Her and I got very, very, very, very, very thick,
I held her hand and she held mine.
I got very busy, and in less than half a tick
I was teasing her and I could see she liked it fine.
I told her I would treat her to a very special treat,
So I stuck to her like a lump of glue.
We got into a corner and we sat upon a seat,
And the seat we sat upon it just held two.
Then I cuddled her, she cuddled me.
I am as happy as a sailor on the sea,
For the Portobello lassie says she's goin' to marry me.
She goes to kirk on Sunday when the bells begin to ring.
She sings in the choir and there is nae doot,
Her face is very, very solemn when she starts to sing,
But ye ought to see her laughin' when the kirk comes oot.
I've been very happy, I've been courtin' her a year.
Never had such a time in all my life,
So I think I'll paint and decorate the Portobello Pier,
Wi' Turkey red the day that she becomes my wife.
For I cuddled her, she cuddled me.
I am as happy as a sailor on the sea,
For the Portobello lassie says she's goin' to marry me.
50859-R I'll Forget You
Though you have said "forget me,"
Though you have said "good-bye;"
You taught me love's deep meaning,
And love can never die.
Still in my dreams it always seems,
We'll meet when clouds roll by.
CHORUS:
I'll forget you when I can live without the sunshine,
I'll forget you when I can live without the rain,
When summer roses forget their fragrance,
And the song bird his sweet refrain.
I'll forget you when all the silver of the moonlight,
Fades forever, and ne'er will bring love's dream again;
When heaven's gladness has turned to sadness,
I'll try to forget you in vain.
From all the world I chose you,
Heart of my heart to be,
Now you have left me sighing,
Tossing on love's great sea.
I pray love's star that gleams afar,
May guide you back to me.
(to CHORUS)
50859-L Under The May Moon
Over the sea under the sky,
Breezes awaken to sing and to sigh.
Gold is the moon high in the blue,
Lighting the pathway where I come to you.
REFRAIN:
Take me then and make me your own,
Yours forever hold me alone.
You that are the sweetness of the flowers in May,
Meet me with a kiss upon my way.
Take me then and make me your own,
Yours forever hold me alone.
Hold me to your heart and bend to me above,
My love, my love!
You are the dream born of the night,
Shadow of tresses on forehead of white,
Then be a dream still for my sake,
Stay with me always, why should I awake?
(to REFRAIN)
50863-R With All Her Faults, I Love Her Still
With all her faults, I love her still.
And even though the world should scorn.
No love like hers, my heart can thrill,
Although she’s made that heart forlorn!
Though other hearts have won her love,
I bear for her, no dreams of ill.
Her face to me still dear shall be,
With all her faults, I love, I love her still!
With all her faults (With all her faults) I love her still (I love her still),
And even so till Death doth part!
No love like hers (No love like hers), my soul can thrill (my soul can thrill),
No other love can win my heart!
She went away one summer day,
And never came again to me,
And since that day, I long and pray,
That I may pass Life’s dreary sea!
I see her now as first we met,
The sunlight shining o’er her brow,
The days were joy without alloy,
But ah! my heart, my heart is weary now!
With all her faults (With all her faults) I love her still (I love her still),
And even so till Death doth part!
No love like hers (No love like hers), my soul can thrill (my soul can thrill),
No other love can win my heart!
I love her still, I love her still,
With all her faults I love her still (I love her still).
50863-L Silver Sands Of Love
Long ago on silver sands of love,
In the glow of silver stars above.
There I found the one I'm dreaming of,
And I know that I'd better forget her.
But my heart that love alone commands,
Calls me where we wrote upon the sands.
Words of love until the dawn of day,
When the waters stole my silver sands of love away.
Naughty Hawaii,
I can’t forget her eyes, the music of her sighs.
Naughty Hawaii,
My sweet Hawaiian paradise.
Long ago on silver sands of love,
In the glow of silver stars above.
There we loved until the dawn of day,
When the waters stole our silver sands of love away.
(repeat)
Naughty Hawaii, farewell my sands of love.
50886-R Steamboat Bill
Down the Mississippi steamed the Whippoorwill,
Commanded by the pilot, Mister Steamboat Bill.
The owners gave him orders on the strict QT,
To try and beat the record of the Robert E. Lee.
"Just speed up your fires; let the old smoke roll.
Burn up all your cargo if you run out of coal."
"If we don't beat that record," Billy told the mates,
"Send my mail in care of Peter to the Golden Gate."
Steamboat Bill, steamin' down the Mississippi,
Steamboat Bill, a mighty man was he.
Steamboat Bill, steamin' down the Mississippi,
Gonna beat the record of the Robert E. Lee.
Billy gave the signal for the crowd on steam,
Loudly blew his whistle just to clear the stream.
The style of the river was a’gettin’ mighty black,
From the smoke that came a’rollin’ from the old smoke stack.
Oh, listen, said the fireman to Steamboat Bill,
We have a ponying up aboard the boiler Seville.
Billy quickly told him as he gave the wheel a turn,
Leave the boilers with the crew until we get coal to burn.
Steamboat Bill, tearin' down the Mississippi,
Steamboat Bill, my how Billy tugs.
Steamboat Bill, tearin' down the Mississippi,
Gonna beat that record if the boiler busts.
Up stepped a gambling man from Louisville,
Who tried to get a bet against the Whippoorwill.
Billy flashed a roll that surely was a bear.
The boiler exploded, blew them up in the air.
The gambler said to Billy as he left the wreck,
"I don't know where we're going but we're neck in neck."
Said Billy to the gambler, "I'll tell you what I'll do:
I'll bet another thousand I'll go higher than you!"
Steamboat Bill, he tore up the Mississippi,
Steamboat Bill, the tide it made him swear.
Steamboat Bill, he tore up the Mississippi,
Explosion of the boiler got him up in the air!
The river's all in mourning now for Steamboat Bill.
No more you'll hear the puffing of the Whippoorwill.
There's crepe on every steamboat that plows those streams,
From Memphis right to Natchez, down to New Orleans.
The wife of Mister William was at home in bed,
When she got the telegram that Steamboat's dead.
Said she to the children, "Bless each honey lamb,
Next papa that you’ll have will be a railroad man!"
Steamboat Bill, missing on the Mississippi,
Steamboat Bill is with an angel band.
Steamboat Bill, missing on the Mississippi,
He's a pilot on a ferry in the Promised Land!
50886-L The Bell Hops
Front twenty-three.
That’s me!
That’s me.
Here I am a twelve bell hop.
I worked in some hotels.
I’m cross-eyed, knock-kneed, pigeon-toed,
from answering so many bells. Ha...
Front number nine.
Hey, boss, I was just up there in room number nine. That man up there
wanted three or four pails of heat. I told him he can’t get any heat,
until the guests pay their board bills. Then the landlord can buy us
some coal.
Huh, huh, huh, very good, Sam. You are certainly working for the hotel’s interests.
Hmm, say, say Mose, come over here, I want to speak to you. Look here, what do you want? Say what the man in twenty-three want? Oh, I don’t know. He’s a millionaire. Oh, yes. He’s a millionaire. That’s what he is. He’s a very, very sick man. What’s the matter? He got the flu? No, he’s got a disease called profiteering. Did he tip you? He never give me a cent. Hmmm. Say, I’m goin’ to quit this hotel. I’m gwina quit it too. Yeah, I haven’t got any wages here for three months. Neither have I. No indeed. And I think the man that runs this hotel is a nut. And if he don’t pay me, I’m gonna crack that nut. Ha...
Yeah, he said you boys can live on your tips. He’s foolish. Yeah, I told him the people that stops in this hotel are too poor to tip anybody. You did? Yeah, I don’t like the rules of this hotel, either. I don’t either.
I know what rule number one says. What does it say? It says this hotel is equipped with alarm clock beds. A slab drops every hour, to let you know what time it is. Oh, ha... What is the difference? Guests wishing a shower bath, please go down in the back yard and get under the hydrant. Ha...
Look at what rule number two says. What’s that say? Don’t worry about your board bill, as this hotel is supported by its foundation, built on a plumb. Well it that isn’t a dumb rule. Ha... Old men are not allowed to play tag in the hallways. Ha...
Look at what rule number three says. What that say? To call the bell boy, ring the towel. And to get satisfaction, ring his neck. Oh, ha... What is the difference? There will be a poker game every night in room nine, just to go on and be disturbed. Please call down at the office, as we furnish ear muffs. Ha...
Rule number four. What that say? All flies in this hotel belong in the dining room. So please do not hurt them. Oh, Lordy that gonna sing. If your room gets too hot, open the window and see the fire escape. Ha...
Rule number six. What that say? This is the last hotel that George Washington ever stopped at. Well, ha, ha, ha. We don’t know color line here. As the walls are so dirty, that the line would not show. Ha...
Rule number seven. What that say? Don’t complain about the pillows being hard, as they are filled with chicken feathers, Plymouth Rock. Ha... Guests desiring running water in their rooms, should secure rooms four and nine, as the roof leaks in each of these rooms. Ha...
Rule number nineteen. What that say? Please do not call for lobster in the dining room, as there is only one lobster in this house, and he owns the hotel. Ha... that’s right. Oh, there’s a man come in here tonight, oh, he wanted a cheap room. So the landlord took him way up to the top of the building. Oh, they got up yonder and they give him a room with no windows nor doors. Oh, they had to bust into that room, must have got in there someway. He got in there, got in bed, wasn’t in bed two minutes, before the roaches commenced to prey. Mmm. Oh, the rats commenced to run. Yeah. Oh, there they were, fightin’ and hollerin’, two of them right in the middle of the floor and had a regular prize fight. Yeah. Oh, he jumped out of bed. Run down the stairs, and said, “Landlord, landlord?” Landlord said, “What’s the matter with you?” Oh, he said, “What’s the matter? That room is full of rats and roaches. Hmm. Right in the middle of boy, this prize fight. I couldn’t stand it.” “What did you pay me for that room?” He said, “Twenty-five cents.” “What do you want to see for a quarter? A bull fight?” Ha...
50903-R The Little Good For Nothing's Good For Something After All
It's funny how a nickname clung to little Mary Brown.
They called her "Good For Nothing", a tom-boy round the town.
As she grew up where e'er she'd go, they'd call her by that name.
But if she's good for nothing, angels must be just the same.
CHORUS:
They always called her "Little Good For Nothing",
Just because like other children she was wild.
Though she wasn't all to blame, still she couldn't bear the name,
That clung to her since she was but a child.
But now she's over there, she joined the Red Cross,
Giving up her life at duty's call.
And the ones that used to sneer, are the first ones now to cheer,
The "Little Good For Nothing's" good for something after all.
In her hometown they used to frown, but now you'll hear them say,
"I knew our 'Good For Nothing' would make us proud someday."
It may be strange but still it's true how often you will find,
The ones we thought were angels turned out just the other kind.
(to CHORUS)
50903-L Isle of Love
June time, croon time, fragrance of flowers fill the air;
Night shades falling, hearts enthralling;
June dreams, moonbeams, happiness reigns everywhere;
Come dear, we will go to a wonderful place I know.
REFRAIN:
Come with me, come with me to that beautiful isle.
Far away (far away), far away (far away), laugh and play all the day, life's
worthwhile.
In Love's spell we will dwell mid the gifts of the heavens above.
Where lovebirds will sing and Cupid is King,
On our Isle of Love.
June nights, moon light, sending its glow from the skies;
Love entrancing, hearts romancing;
Kiss time, bliss time, strolling through Love's paradise;
Soon dear, we will be in our own little orchidea.
(to REFRAIN)
50904-L The Boy Scouts of America March
Boy Scouts are we, ever faithful to our country,
Loyal to all who we...
We see...
... Boy Scouts of America!
50917-R A Darktown Quartet Rehearsal
Oh! Henry, Henry!
That's me!
Come on over here boy and show these here niggers some real harmony.
What you got, a quartet?
We will have as soon as you all gets here. Ha...
Well, here I is. All right, what ya gwine to sing?
Well, we was tryin' to sing "Way Down Yonder in the Cornfield", but
we can't find them chords you all showed us!
All right, Jim, you lead it and I'll tenor it.
How much tenor you goin' to sing, boy?
Oh, about nine or ten-or eleven. Ha...
I'm never so happy as when I break into song!
Why don't you get the key once in a while then you wouldn't have to break in?
Ha...
Come on, Sam, you bass it.
Here goes, then:
Some folks say that a nigger won't steal,
Way down yonder in the cornfield.
That ain't right! We used to sing way down twice, don't you remember? Way
down, way down!
No, no. That's the second time:
Way down, way down.
You know the bass, Sam. Make it like this:
Way down, way down.
Ha... I told you that boy knew some real harmony. Come on, let's hit that one:
Way down, way down.
Well, ain't that the baby grand harmony! Come on, hit it again and I'll put in that new one you showed me:
Way down, way down,
Way down yonder in the cornfield.
Well, go on with the song, boy, and I'll put in that high one:
Way down, way down.
Oh, boy! Hm, hmm. Some tenor! Hmm.
But I caught a couple in my cornfield,
Way down, way down,
Way down yonder in the cornfield.
One had a shovel and the other had a hoe,
Way down yonder in the cornfield.
And if that ain't stealin', I don't know.
Oh, no! Get that high one:
And if that ain't stealin', I don't know.
Oh, peaches, cream and honey! Let me die hearin' that boy sing. Come on:
And if that ain't stealin', I don't know.
Way down, way down,
Way down yonder in the cornfield.
Come on, boy! Let's sing it all the way through:
Some folks say that a nigger won't steal,
Way down yonder in the cornfield.
But I caught a couple in my cornfield,
Way down, way down,
Way down yonder in the cornfield.
One had a shovel and the other had a hoe,
Way down yonder in the cornfield.
And if that ain't stealin', I don't know.
Way down, way down,
Way down yonder in the cornfield, the cornfield.
Way down yonder in the cornfield, (down yonder)
Cornfield, cornfield. '
50917-L Operatic Syncopation
I was sleeping one night at the Opera,
And I dreamt that the melodies,
That played the old Meistersanger,
Were written in raggy keys.
Oh, now with your kind permission,
We will throw upon the screen,
Of your minds a little thought,
To show you what we mean.
Let me take a little bit of William Tell;
A pretty thing, a hard thing,
And it always gets applause,
If you really do it well.
Just take one bar of that evening song.
I love that melody,
Oh, how it sings to me. Just listen:
Oh, how I love a big opera band (You ought to hear it!)
One that plays classical music grand (You'll be near it.)
Gives me a feeling I can't understand,
It goes to my brain, I'm near insane,
When I hear that sweet refrain.
Come on and hear the pretty little melodies,
Of all the old composers.
Come on, let's go, it's only five o'clock,
And every sight will be some show.
Let's go. Oh, I don't want to go!
Oh, yes! Oh, no!
I said I wouldn't go!
But I think you'd better go. No!
Everybody loves to hear the good songs, instead of ragtime.
Everybody loves to hear grand opera, it surely is fine.
Maybe you'll go to see that big show.
Oh, don't say no. All right, I'll go.
Then we'll both go,
To see that great big opera show.
And you'll all know that it is some big swell affair don't fail.
We'll all be there.
50924-R The "Knocker"
The young man who is about to address you is a character quite common in the theatrical profession. I might say, in fact, not at all uncommon in other walks of life: the Knocker. Just listen to him ...
Say, who do you imagine I just bumped into not more than ten minutes ago? Remember Jim Bumpkin of Bumpkin & Bluff? Well, he's starring in a musical show that's on the level. I just seen his name in letters as big as your head, in front of a show stop right on the Streetle lane. And what do you imagine he said? Why he tells me he's copping a thousand a week. And I guess it's a fact that he does. Although how he done it's a mystery to me.
But can you blame me for wondering? Because, I can remember only eight years ago when he was doing O'Silence & Son with Lizzie O'Connor, Pete Dritten's first wife. And of all the punk acts, there was one. Why, I can remember way back on the coast when he was playing the Merry Olde Foam. Why you couldn't find an original idea in his head with a fine-tooth comb. Why say, I can remember the time of the quake, when he beefed about losing his all. Why he never had nothin' to lose, and the shock didn't even jar his gall. Why I can remember when he hit up the booze. He had the rep for a drunken old sot. Still I'd be the last one to knock him myself, because he's one of the best friends I got. And they say there ain't no such a thing as luck, eh, well now just look at Jim, ain't it fate? Because if he was depending on his brains to get there, heh, his train would be eighty years late. Now don't think I'm knockin' or nothin' like that, because I'm telling you what I tell him. Well, speak of the devil, here's Jim coming now. Just a second.
How are ya, Jim? Say do you know you was just on the tip of my tongue? Yeah, I was telling these folks here, and it's true, that there ain't no such thing as luck in the world. It's brains, Jim, just brains. Well, look at you! Well, you know I can remember only eight years ago when you was doin' O'Silence & Son with Lizzie O'Connor, and of all the champ acts, say there was one. And you know I can remember way back on the coast when you was playin' the Merry Olde Foam, well I said even then you was bound to get there, and you see you brought the bacon home. Why say, I can remember the time of the quake, when you lost everything that you owned. You went clean as a whistle and look at you now, a star and you ain't even high-toned.
Why, I can remember the gang, Ropes and you, and I pitched in and walloped the lot, because I wouldn't let my own father talk about you, cause I'm one of the best friends you got. Well, Jimmy old pal, it's good to see you again. Sure, tell me more about your success. What's that? How about me? Am I doing well? Why, yes .. I'm expecting to open the week after next. Have I worked much this season? Well, no. To tell you the truth, Jim, I ain't worked at all. This vaudeville game's awful slow. Well, I could use a little, a caser or two. Why, thanks, Jim. Much obliged. Gee. Will I come and see you? Well you bet I will. So long.
Well, can you beat that? A measly V. And I can remember when I staked that big boob to get his one shirt from the Chink's. And look what he hands me. Why there ain't enough here to buy more than a good round of soft drinks. You know, I can remem ... oh well gee, what's the use? I'll just take this V and ... Hello! Why say, this ain't a V, it's a fifty. By jinks, sure enough there's a 5 and an 0. You know I can remember now that I think of it he was always a prince in disguise. And all the bum stories you hear about him are just a big bundle of lies. Now don't ever let nobody knock him to you because, I know him and I tell you what. I'd lick a whole army to defend his good name, because he's one of the best friends I got!
50924-L I'm Going Back to the Workhouse
I ain't done nothin' to no one. But just 'cause my pa don't like me, he send me away ... to the workhouse. I've only just been set free. As soon as I got out I went home. I thought he'd be glad when I come. But he give me a clout and said, "Go on, get out! I don't want ya here, you're a bum." So, I'm going back to the workhouse. That's where I want to be. They always so kind. Say, I didn't mind being away from the family. Pa says I ain't good for nothing. And Ma says I'm wicked as sin. So the only place left is the workhouse. Gee, I hope they take me in.
You know, I know why Pa don't want me. The fault ain't all his'n, alone. My stepmother, she's got no use for me, 'cause she's got a kid of her own. But if mother was only living, things would be different. Why? Say ... if he just dared to hit me or swear, she'd hand him a poke in the eye.
I ... I ain't such a bad boy, do ya think I am? I never done nothing wrong to nobody. I'll be thirteen years old me next birthday, and I ain't never stole nothin' yet, excepting once when me and Blinky Dugan swiped some peanuts off'n the Dago stand. But I, I was hungry. Yeah ... and then Larry the cop, he chased me. And he catched me. And he, and he give me a wallop in the nut with his club.
Everybody is always taking a crack at me. Pa's always saying I'm going to the dogs. I don't go to no dogs. No, the dogs is always coming to me. I can't help it if the dogs like me, can I? Say, I like the dogs, too. Yeah, I once had a dog, um-hum. He was, uh ... a fox terrier. He only had three legs and one eye but gee, he was cute. I ain't got him no more, though. He .. he's died. Mulligan's laundry wagon runned over him. Gee didn't I cry. Say, everybody what knowed him cried. Everybody excepting Pa, and he said, "What in the Hell's the difference?" He, he said, "It's all right, it's all right," he said, "We, we still got one dog left." I ... I didn't know then he was meaning me.
I ... I ain't crying. I, I got a cold in my nose and the water is comin' out of me eyes .... But I, I like my pa, though. Yeah. He, he's a good old rummy. But he says, he says he won't have nothing more to do with me, so, I'm going back to the workhouse. That's where I want to be. They, they always so kind. I didn't mind being away from the family. Pa says I ain't good for nothing. And Ma says I'm wicked as sin. So the only place left is the workhouse. Gee, I hope ... they'll take me ... in.
50928-R A Sleepy Little Village (Where The Dixie Cotton Grows)
Hanging on my Christmas tree
Was a big geography,
And I marked off different places
That I wished to see,
Many years since then have flown
And I've traveled every zone,
But there's really only one place
For this rolling stone.
There's a sleepy little village where the Dixie cotton grows,
Where the colored mammies smoke tobacco as they wash their calicos,
There's a mail man there's a jail man and a country constabule.
They read and write, gosh darn, since Perkin's barn became the public school.
There's a little silver lady waiting in the candlelight,
I can see her shadow on the window as she prays for me at night.
There's a Main Street, a lovers lane street where the Sallys meet their beaux,
In that sleepy little village where the Dixie cotton grows.
Like a row of honeycombs
Stand the happy little homes,
They possess the rustic sweetness
Of Longfellow's poems,
From the singing cedar trees
Comes a message on the breeze,
To the strains of Stephen Foster's
Southern melodies.
There's a sleepy little village where the Dixie cotton grows,
Where the colored mammies smoke tobacco as they wash their calicos,
There's a mail man there's a jail man and a place for Kelly Pool.
And all the boys in back drink Apple Jack that knocks them for a goal.
There's a little silver lady waiting in the candlelight,
I can see her shadow on the window as she prays for me at night.
There's a Main Street, a lovers lane street where the Sallys meet their beaux,
In that sleepy little village where the Dixie cotton grows.
Oh, I never thought that I'd be blue but listen, folks, I'm telling you as soon as I can pack my griff today,
I'll hustle to the station and make a reservation and climb on up my berth and hit the hay.
At quarter past eleven, I'll count the stars in heaven, and when the Pullman stops for break of day,
I'll be happy gosh darn and that's no yarn, Good-bye, I'm on my way.
There's a little silver lady waiting in the candlelight,
I can see her shadow on the window as she prays for me at night.
There's a Police force, he's on a white horse, and his wife makes all his clothes,
In the happy little, dreamy little, sleepy village where the Dixie cotton grows.
50928-L Dreaming Of You
Always I can hear you, would that I were near you,
As in dreams of you.
It's no use denying, for you I've been sighing,
If you only knew.
Don't you know I miss you, how I long to kiss you,
I'm so sad and blue.
Tears will cease to fall, when in dreams I hear you call,
'Tis then you are mine, my all.
CHORUS:
Dreaming of you dear, dreaming of you.
My love's true blue dear, only for you.
Down in my heart dear, I wish were true,
That you still loved me, as in dreams of you.
Always I am dreaming, for you my love teeming,
My heart beats for you.
Eyes of fairest blue dear, lips of rosy hue dear,
Seem so near and true.
If you'd only hear me, just a word would cheer me,
I've been grieving so.
When the shadows fall, then in dreams I hear you call,
'Tis then you are mine, my all.
(to CHORUS)
50942-L Uncle Josh And The Sailor
Ha... Well sir, along last spring, farm helpers was scarce, I didn’t know how I’d get my plowin’ or hayin’ done, and while I was thinkin’ what I’d do in the matter, fella come along said he wanted a job. I asked him if he ever worked on a farm. He said yep, he was raised on a farm, where the land was so poor they had to plant beans with a shotgun, and he got one leg shorter than the other, from plowin’ on side hills. Ha...
He said he’d been a sailor most all his life. Well, I didn’t put much stock in him, but I hired him. I started him to plowin’ down in the south forty, where the best Joe Fox and I had him in about half an hour. I heard some of the awfullest language I ever expect to hear in all my born days. Well, I went down in the field to see what was the matter, and there was that sailor standin’ out alongside them ox and a’yellin’ at them, “Starboard, you freckle-faced landlubbers, starboard!” Ha...
Well I showed him how to turn them around and say Gee and Haw, and every little while I could hear that fella hollar, “Haw port, Gee starboard.” Ha...
Well, when dinnertime come, I rung the dinner bell, and he stayed right out there plowin’. I went out and asked him why he didn’t come to dinner, and he said, he always was piped to grub on eight bells. I had to run around neighborhood and borrow seven other bells and ring all eight of ’em to get that darned fool to come to dinner. Ha...
When he come in, I asked him what he’d done with the oxen, and he said he anchored them out in the harbor ’til he could get a tug and tow ’em into port. Well, sir, that fella couldn’t get over bein’ a sailor. He called me the captain, Nancy the mate, and the rest of the family was the crew. He called the front yard the quarterdeck and the back yard the poopdeck. He called the cellar the hold. He called the front room the forecastle, and when Nancy scrubbed out the kitchen he said she was swabbin’ out the cook’s galley. Ha...
Well, when he come in with a hat full of eggs, I asked him where he got ’em. He said he found them in the hatchway, and when he wanted to put a rubber and a compass on the windmill. Well, I sent him up in the hayloft to pitch down some hay, and he stopped from blowin’ a whistle, and said he was pipin’ all hands hail off. Well, when I sent him to fasten down the cover on the haystack, he said he was furling the main sail on the hay barn. Well, sir, he talked so darned much sailor he made me seasick. And he could tell the awfullest whoppers. Some of them would make poor Adenius ashamed of himself. He said his father was a sailor, and was shipwrecked at sea. And what had happened, was a lot of islands, where nothin’ but mermaids lived. And when the mermaids seen his father, they all shook dice, see which one of ’em would marry him, and the queen of all the mermaids won his father, and married him, and they had three children. Two of them was fish and the other one was him. Ha...
He said his father died there, and he got away. Well, I put up with it all, ’til he wanted me to set up nights, and slosh water agin’ the side the house, so he could go to sleep. And right then and there, by gosh, I discharged that sailor. Ha...
50979-R Since First You Smiled On Me
Once as I wandered in the deepening twilight,
Lonely and sad, God led my steps to you.
Then in your smile I saw a glimpse of heaven,
Love's magic wand then made the world anew.
REFRAIN:
Since you smiled on me, Dear,
Life is a wonderful dream.
Lost in your tender caresses,
Gently I float on Love's stream.
Nothing so fondly I cherish,
Naught else can perfect be.
Love holds my heart in a paradise,
Since first you smiled, Dear, on me.
When in your eyes the light of love is shining,
Sadness departs like dew before the sun.
All nature sings and sorrows are forgotten,
Hope beacons onward till life's call is heard.
(to REFRAIN)
50979-L Grandfather's Clock
My Grandfather's clock was too large for the shelf,
So it stood ninety years on the floor.
It was taller by half than the old man himself,
Though it weighed not a pennyweight more.
It was bought on the morn of the day that he was born,
And was always his treasure and pride,
But it stopped short, never to go again,
When the old man died.
CHORUS:
Ninety years without slumbering,
His life seconds numbering,
It stopped short, never to go again,
When the old man died.
(last time repeat CHORUS)
In watching its pendulum swing to and fro,
Many hours had he spent while a boy.
And in childhood and manhood the clock seemed to know,
And it shared both his grief and his joy.
For it struck twenty-four when he entered at the door,
With a blooming and beautiful bride,
But it stopped short, never to go again,
When the old man died.
(to CHORUS)
It rang an alarm in the dead of the night,
An alarm that for years had been dumb.
And we knew that his spirit was pluming for flight,
That his hour of departure had come.
Still the clock kept the time with a soft and muffled chime,
As we silently stood by his side,
But it stopped short, never to go again,
When the old man died.
(to CHORUS)
50999-R Santa Claus Hides In Your Phonograph
Hello, little folks! Do you know who I am? You've heard of me often. Some say I'm a sham. Ha ... But most of you know that cannot be true. For every Christmas you've seen what I do. And now, you not only know just what I do, but you hear my own voice as I'm speaking to you.
"Who is it?" you say. Hush! Close all the doors and I'll tell you a secret: I'm old Santa Claus! Ha ... Perhaps you're curious to know why I hide in this phonograph. For I'm right here inside! Ha ... I'll tell you, my dears, if you'll give me your word that you won't tell a soul about what you have heard.
You've seen Santa's picture quite often, I'm sure, with his great big white whiskers half down to the floor, and his ruddy red cheeks and his jolly old smile. And often you've wished you could see him a while. But children, though I'd love to come out of this box, I'm really afraid to, because of the shocks that all of you'd get if you saw me come out. Why you'd all run away with a terrible shout! Ha ...
My beautiful whiskers are black with the dirt, and the dust's in my eyes so that both of them hurt. And my lovely red robe with its trimming of white is as black as the black of a black winter's night. Ha ... And it's all because I have to climb down the many long chimneys you have in this town. Before I can possibly come out and greet you, I must take a warm bath, and then perhaps I'll meet you.
Don't think that I mind getting dirty like this, for it's something I'd really be sorry to miss. I have to go down all these sooty old places to bring gifts to the children and smiles to their faces. But before I get out and disappear soon, I'll give you a treat. It's a bit of a tune that I'll play on my chimes that I've got with me here. So listen, dear children, to some real Christmas cheer.
There now, how did you like that? Well, now I must be off, if I can ever get out of this box! Hmph! There! My, that was a tight squeeze. Come on now. Up Prancer! Away! Goodnight! Goodnight! Goodnight! Ha ...
50999-L The Christmas Cobwebs
Way across our big ocean is the Christmas Land, Germany. There the wonderful toymakers work all year round making Christmas dolls and wooden animals, and air ships, and more trains than you could run. And the glassblowers are busy making gay big glass balls of all the rainbow colors to trim the Christmas trees. And from the Christmas land comes the story about little Peter who lived on the edge of the Black Forest.
Every day, Peter went a mile into the forest, to carry a pail of warm coffee and a loaf of black bread to his father, who was the village woodchopper. In the winter it was a long, cold journey, but Peter didn't mind. Hadn't he the little fir tree to meet and pass the time of day with each trip? It was the tiniest and the straightest and the most beautiful pointed tree in the whole forest, at least so Peter thought. It was summertime when Peter first spied the little tree, and laid his hand on its little green branches as he whispered, "You are fine enough to be a Christmas tree! Just keep on growing, and I'll cut you down, and take you home and hang pretty things on your branches when Christmas comes."
The fir tree must have heard, for it kept right on working hard at growing. Why, it was two inches higher when winter came. Peter had been working, too, and he had gone without butter on his bread, to earn the money with which to buy frosted gingerbread, toys and silver balls and a wooden doll for Gretchen, his sister. Then, the week before Christmas, he cut down the tree, and stood it up at the corner of the kitchen, and he jingled the silver coins in his pocket. "Just wait a little, little tree," he said. "And the night before Christmas, you shall be trimmed with toys from top to toe."
But alas, that very day Peter's father cut his foot with his axe, and had to take to his bed, and before the end of the week, there were none of Peter's precious coins left, which were to buy the gifts for the tree. But Peter didn't lose courage. "There shall be popcorn strings, I will make them today!" said Peter. But it was such a busy day for Peter. It was very late in the afternoon when he started across the field to the house of his friend Hans, to borrow a few ears of popcorn, with which to make the chains for the little fir tree.
On his way he found a little rabbit, with his foot caught in a trap. Peter's fingers were very stiff and cold, but he knelt down on the snow and untied the knot which held the little rabbit. And as he worked, the twilight of Christmas Eve fell upon forest and field. The shadows drew near and a beautiful star beamed out in the sky. As the grateful rabbit leaped off free and happy, Peter looked up. Why it was too late for the popcorn, he would never be able to find his way through the dark. So all he could do was to go home. Everyone in the house had gone to sleep. There in the corner, untrimmed and bare, stood the little fir tree.
Peter put his hands softly on its green branches and said, "Poor little fir tree, why you're all covered with cobwebs, because I didn't have time to even dust you off. I'm so sorry."
Then, when all the world was sleeping, even little Peter, the Christ Child came walking from out the forest. Every Christmas Eve he came, to peer in through all the windows and lift with his soft little hands, the door latches of the good children. When he came to Peter's house and saw the little fir tree covered with grey cobwebs, he felt so sorry for poor little Peter, he touched the cobwebs with his fingers, and they turned, every one, to pure gold.
In glittering splendor stood the little tree draped from roof to ground in a lacework of shimmering, shining gold thread. And ever since then, children, we always trim our Christmas trees with threads of gold and silver tinsel, in memory of Peter's little fir tree with its grey cobwebs, which the Christ Child turned to gold.
51002-R Where The Silvery Colorado Wends Its Way
The twilight softly gathers 'round my home among the hills.
And all nature soon will settle down to rest.
While I sit and sadly ponder and my heart with longing fills,
As I often think of one that I loved best;
We were wedded in the June-time, and our hearts then knew no pain,
Fair nature seemed to smile on us that day;
Now she sleeps beneath the lilacs and she'll ne'er come back again,
Where the silvery Colorado wends its way.
CHORUS:
There's a sob on every breeze, and a sigh comes from the trees,
And the meadowlark now croons a sadder lay,
For the sunlight plays no more 'round my cheerless cabin door,
Where the silvery Colorado wends its way.
The silvery snow is gleaming on yon distant mountainside,
Where we often used to wander, Nell and I,
And the birds are gaily singing in the valley far below,
Where I long some day to lay me down and die;
Then our lives were gay and happy, in the shadow of the hills,
My heart beats fonder for her day by day;
And I feel her presence near me as I sit alone tonight,
Where the silvery Colorado wends its way.
(to CHORUS)
51002-L The "Humoreske" Song
In a garden of roses fragrant with perfume,
Near to the shore of a summer sea,
I had wandered a stranger midst scenes the brightest,
Far away from home and hearts so dear to me.
On the evening air came the sound of music swelling,
'Twas a wandering minstrel's sweetest melody.
Deep within its story sweet in tender tones were telling,
Charmed and filled my aching heart with ecstasy.
Oh that in that melody I seem to hear another song,
A song that brings another scene to view
And its echo in my heart, awoke the memory of one,
My heart is ever turning to.
I love the dear old Swanee River,
I dream once more,
Oh how my thoughts keep turning ever.
There to the Swanee shore.
Oh that song of long ago that thrilled my soul with rapture,
As its melody still through the twilight flew.
Was a song that Mother sang in childhood days so long ago,
Was just a song, a song of home, sweet home.
51021-R With His Umpah Umpah On The Umpah Isle
Pat Malone had an old trombone on the good ship "Nancy Lee."
He would play both night and day,
'Till the crew cried, "On your way!
We've had enough of that Umpah stuff!" So they threw him in the sea.
He grabbed the tail of a passing whale
And played with one arm free.
Way down on Umpah Isle, he landed with a smile.
The Zulu queen with soup toureen met him in royal style.
With his umpah, umpah, funny little umpah,
He struck up an air.
With his umpah, umpah, funny little umpah,
Pat Malone was there.
They forgot the boiling pot
As they did the Zulu trot.
They brought a ring and made him king
And crowned him on the spot.
With his umpah, umpah, funny little umpah,
He was not so green.
For his old trombone and funny little tone were nestled on a queen.
Now he was hardly there a week
Until he had it on the sheik.
With his umpah, umpah, funny little umpah,
On the Umpah Isle.
Pat Malone with his old trombone told them of our latest style.
Now they're up to date out there, and the girls all bob their hair.
The beach they say has it on Broadway
With its flappers by the mile.
And quite a few wear galoshes, too,
Made out of crocodile.
And every passing ship now anchors on its trip,
To watch those wild finale hoppers do the bamboo dip.
With his umpah, umpah, funny little umpah,
Like a one-man band.
With his umpah, umpah, funny little umpah,
All along the stand.
Every Zulu maiden sweet
Gives the sailor boys a treat.
They goa lika thisa lika thata lika this,
And sometimes move their feet!
With his umpah, umpah, funny little umpah,
Pat just sits and plays.
Though they bring him dishes, coconuts and fishes,
Cooked in different ways.
He'd give the queen and all his cash
For just one plate of corn beef hash.
With his umpah, umpah, funny little umpah,
On the Umpah Isle.
Ah ha. Umph. Now I, I, I, for a quiet moment on me trombone.
*-----------------------------
Beg pardon, Queenie, I didn't quite get you.
*-----------------------------
Well, it may be that you're right, and then again it may be that you're wrong.
Oh! Be the way, Chief. What do you say?
*-----------------------------
Well, well. I hadn't thought of that. Now, there's another point to be
considered.
*-----------------------------
*-----------------------------
*-----------------------------
*-----------------------------
Hold on, hold on! Don't get excited. We'll now sing our national Zulu anthem,
with of course, my assistance.
*-----------------------------
*-----------------------------
*-----------------------------
*-----------------------------
With his umpah, umpah, funny little umpah,
On the Umpah Isle.
*(Ancient Zulu dialect unintelligible to modern ears)
51021-L Hurry Along, Liza With Me
Well, sir. Here I is and there she is. I got a surprise for her. It's a very important event. I suppose I should have told her about it. Well, the easiest way is the sweetest way, so I'll address her in my most melodious and pleasantest manner.
How do you do this morning, Liza Johnson?
Why, I'm feelin' powerful middlin', Mr. Green.
Well, I'm surely glad to hear it, Liza Johnson,
And that makes our little party all serene. What party?
Put on your very best, Miss Liza Johnson.
I'll be with you in a minute, Henry mine. Ha! Ha!
Now you're talkin' talk, sweet Liza Johnson!
Ya, Ha, Ha! Henry, but your manners sure is fine.
Hurry along, Liza with me,
And with words of love I'll try to make you see. (See what?)
Hurry along, Liza with me,
Cause I've made a date to see old Parson Lee. (Say you have?)
When we get there, you will declare,
That a true and loving gal you'll always be. (Is that so?)
Now don't you hesitate, 'cause you'll surely be late.
So, hurry along with me.
Listen, Henry.
What is it?
Before I hurries into the house to dress, I want to ask you a question.
What is the question?
If I do go down to Parson Lee's with you, are you going to take me down to
Florida on my honeymoon?
Why, certainly I is, honey. But if it so happens that I don't...
Yes?
Why, I'll buy you a bottle of Florida water.
You will?
I sure will, honey.
Henry, you is so good to me!
Well now hurry up gal, 'cause it's gettin' late and I want you to go upstairs
and bedeck yourself in your finest of finery.
Well, Henry, what might that be?
How about putting on that orchard colored organdy gown?
Orchard? Oh, orchid! That was just what I was going to advocate.
Yeah?
I was afraid, though, you was going to ask me to wear my cerise grenadine.
No gal, I think you looks more Dixie in the orchard, I mean orchid. Ha! Ha! How
goes you gal, is you ready?
Hm, Hmm.
Hurry along, (I'm hurrying, man) hurry along, (fast as I can)
And with words of love I'll try to make you see. (Uh huh)
Hurry along, (You beat the band) hurry along, (Ain't love grand?)
Cause I've made a date to see old Parson Lee. (Do tell)
When we get there, (What'll we do?) you will declare, (Say that I will)
That a true and loving gal you'll always be.
Well, if I hesitate? Gal, then you're gonna be late.
So, hurry along with me.
51068-R Day By Day In Every Way I'm Getting Better Day By Day
There's a message from the land of Fleur De Lie
And it means a lot of good to you and me.
If you want to have good health and be happy every day,
Just close your eyes, relax, and softly say:
Day by day (yes, day by day) in every way (in every way),
I'm getting better, and better every day.
On cloudy days this mental exercise
Will brighten up your eyes, and bring you sunny skies.
Day by day (yes, day by day) in every way (in every way),
It's very easy, and not so hard to say,
Learn this simplest of rhymes, and repeat it twenty times,
Day by day I'm getting better, day by day.
On cloudy days this mental exercise
Will brighten up your eyes, and bring you sunny skies.
Learn this simplest of rhymes, and repeat it twenty times,
Day by day I'm getting better, day by day.
In your old kit bag put all your mental ills,
And forget about your unpaid doctor bills.
It will bring you more than wealth, making labor seem like play,
I wish that everyone would learn to say:
Day by day (yes, day by day) in every way (in every way),
I'm getting better, and better every day.
On cloudy days this mental exercise
Will brighten up your eyes, and bring you sunny skies.
Day by day (yes, day by day) in every way (in every way),
It's very easy, and not so hard to say,
Learn this simplest of rhymes, and repeat it twenty times,
Day by day I'm getting better, day by day.
On cloudy days this mental exercise
Will brighten up your eyes, and bring you sunny skies.
Learn this simplest of rhymes, and repeat it twenty times,
Day by day I'm getting better, day by day.
51068-L The Lawn Swing
On the coolest spot of my shady lawn,
Where the clovers bloom and the woodbines cling,
When I am weary in brain and brawn,
I haste to the love of my old lawn swing.
The tall elms droop in a soft caress,
The breezes blow on a fancied lute,
As I fling myself to its glad embrace,
And gently press with an eager foot.
REFRAIN:
For I know, it will go, just so,
Never too fast, never too slow,
Never too high, never too low,
Backward, forward, go, swing, go.
I waive the joys of society,
For the tranquil dreams of an idle mood.
I shun the friends that are dear to me,
And tiptoe off to my solitude.
Away with play and the toil of day,
Give me the joy of a drowsy mind.
Oh let me float in my lawn-swing boat,
In the soothing balm of a summer wind.
(to REFRAIN)
51087-R Three O'Clock In The Morning
It's three o'clock in the morning,
Lonely and sad am I.
Though daylight soon will be dawning,
Still in my heart I sigh.
The songbirds soon will be singing,
Love tunes that thrill every heart.
They'll bring new gladness to me,
I know when we're far apart.
Dreaming, dreaming, dreaming of joys I once knew.
Seeming, seeming, that once again they are true.
Beaming, beaming on, we are too, I love you.
I'll just keep dreaming dreams, Sweetheart, of you.
It's three o'clock in the morning,
Lonely and sad am I.
Though daylight soon will be dawning,
Still in my heart I sigh.
The songbirds soon will be singing,
Love tunes that thrill every heart.
They'll bring new gladness, I know, Dear,
They'll bring new gladness, I know,
While we are far apart.
51087-L When Knighthood Was In Flower
There was a princess fair,
In the days of the long ago.
She loved and did not care,
If the whole of the world should know.
Though kings opposed her will,
All the stronger her heart became.
And though they offered her a crown,
She loved him just the same.
CHORUS:
When knighthood was in flower,
When hearts and lances were strong,
When ladies fair were in despair,
Until their knights came along;
They lived romantic stories,
And took what fortune might bring.
When knighthood was in flower,
And love forever was King.
(repeat CHORUS)
51115-R O-Le-O-Lady
I just arrived from Switzerland, (yodel)
Where they make holes in the cheese so grand. (yodel)
I leave my red-cheeked sweetheart, (yodel)
When she'd cry I'd say "Oh my!" (yodel)
I'd say to her, "I will be true."
I'll sing this song when I feel blue:
REFRAIN:
O-Le-O-Lady, That will drive away the blues.
O-Le-O-Lady, Dance with your wooden shoes.
O-Le-O-Lady, I'll make that money by gum.
O-Le-O-Lady, Meet the moon or meet the sun.
(Yodel)
When I come back with joy you'll say "Fritz, that's the boy."
With your (yodel).
With golden hair, oh my, she's nice (yodel)
She's sweet just like the Edelweiss (yodel)
And someday maybe I'll go home (yodel)
You bet my life no more I'll roam (yodel)
In the Alps just near the moon,
Side by each we'll sit and spoon.
(To REFRAIN)
51115-L Wearing Of The Green
O Paddy dear, and did you hear the news that going round?
The shamrock is forbid by law to grow on Irish ground;
St. Patrick's Day no more to keep, his colour can't be seen,
For there's a bloody law agin the wearin' of the green.
I met with Napper Tandy and he took me by the hand,
And he said, "How's poor old Ireland, and how does she stand?"
She's the most distressful country that ever you have seen,
They're hanging men and women there for wearin' of the green.
She's the most distressful country that ever you have seen,
They're hanging men and women there for wearin' of the green.
But if at last our colour should be torn from Ireland's heart,
Our sons with shame and sorrow from this dear old isle will part;
I've heard whispers of a country that lies far beyond the sea
Where rich and poor stand equal in the light of freedom's day.
O Erin, must we leave you driven by the tyrant's hand?
Must we ask a mother's welcome from a strange but happier land?
Where the cruel cross of England's thralldom ne'er shall be seen,
And where, thank God, we'll live and die still wearin' of the green.
Where the cruel cross of England's thralldom ne'er shall be seen,
And where, thank God, we'll live and die still wearin' of the green.
Where the cruel cross of England's thralldom ne'er shall be seen,
And where, thank God, we'll live and die still wearin' of the green.
51131-R There's Only One Mary In Maryland
I know a place where the girls are divine,
Way down in old Maryland.
There's only one that I long to call mine,
Way down in old Maryland.
There are Floras and Doras and Coras and Janes,
There are Pollys and Dollys galore,
I searched all around, but in Maryland found,
Only one Mary I could adore.
CHORUS:
There is only one Mary in Maryland,
Maryland, Maryland,
There is only one Mary can understand,
Why he longs to hold her hand.
Minnesota has many a Minnie, you see,
Louisiana has many a Lou,
But there's only one Mary in Maryland,
And Mary, that Mary is you.
(second time to REPRISE)
Mary and I will hear wedding bells soon,
Way down in old Maryland.
Then we will go on a sweet honeymoon,
Way down in old Maryland.
Of course I've met many a Mary before,
And I must admit they're all grand,
But I will forget every Mary I've met,
For that one Mary in Maryland.
(to CHORUS)
REPRISE:
Minnesota has many a Minnie, you see,
Louisiana has many a Lou,
But there's only one Mary in Maryland,
And Mary, that Mary is you.
51131-L Open Your Arms My Alabamy
When I was a kid so high,
I kissed my folks and said "Goodbye,"
That was in Alabamy, (in Alabam')
Then I had Dad and Mammy, (my Mammy)
Now I pray upon my knees,
To live those memories. (I'm praying)
CHORUS:
Open your arms, my Alabamy, (my Alabam')
Please take me back to your heart,
And rock-a-bye me just like a mammy,
Bundle me up in all your sunshine,
It's been a long time since I have closed my eyes,
Beneath your sunny skies,
Tell every little Posy, to make it nice and cozy,
Things haven't been so rosy, since I've been alone.
So open your arms my Alabamy, (my Alabam')
Please take me back to your heart,
And welcome me home.
(second time to REPRISE)
I can see right near the farm,
The school that I played hookey from,
The charms of Alabamy, (of Alabam')
Are like the arms of Mammy, (my Mammy)
How I'd love to dream again,
The dreams that I dreamed then. (I'm saying)
(to CHORUS)
REPRISE:
Open your arms, my Alabamy, (my Alabam')
Please take me back to your heart, (back into your heart)
And rock-a-bye (rock-a-bye your baby) just like a mammy,
Bundle me up (clothe and dress me up) in all your sunshine,
It's been a long time since I have closed my eyes,
Beneath your sunny skies,
Tell every little Posy, to make it nice and cozy,
Things haven't been so rosy, since I've been alone.
So open (open up your arms) your arms my Alabamy, (my Alabam')
Please take me back to your heart,
And welcome me home.
51140-R Little Rover
Good advice is easy to give,
But seems mighty hard to take.
Most of us must learn while we live,
And still make the same mistake.
I'm recalling words of wisdom and they came,
From a silver lady in a golden frame.
Through the years I learned them somehow,
And I understand them now.
REFRAIN:
Little rover, think it over, don't forget to come back home.
Fly away, you're longing to go,
Fly away, and someday you'll know:
Eastward, westward, home's the best word,
When you're blue and all alone.
Oh, the sheep's in the meadow, the cow's in the corn,
And can't you hear the rooster telling you every morn:
Little rover, just rove all over, but don't forget to come back home.
(2nd time to REPRISE)
Don't know why it took me so long,
To learn what I know tonight.
Don't know why I just went all wrong,
Before I could see the right.
But somehow the lessons learned at Mother's knee,
After all the years and tears come back to me.
I can see her there by the door,
Just telling me o'er and o'er:
(to REFRAIN)
REPRISE:
Eastward, westward, home's the best word,
When you're blue and all alone.
Oh, the sheep's in the meadow, the cow's in the corn,
And can't you hear the rooster telling you every morn:
Little rover, just rove all over, but don't forget to come back home.
51140-L Until the End Of Time
The fairest flowers must wither and decay,
A fragrant fleeting hour and they are gone.
The brightest stars must pale and fade away,
Within the golden glory of the dawn.
The sweetest song that charms the listening ear,
Forgotten when the singer's lips are dumb.
But love like mine, grown stronger year by year,
Will live through all the ages yet to come.
REFRAIN:
Until the end of time, dear heart,
Until the end of time;
E'en though our paths lead far apart,
Its' radiant light sublime,
Will shine in fadeless skies of blue,
Will ever lead me back to you.
My heart will be steadfast and true,
Until the end of time.
Though other lips may whisper sweet and low,
Though other eyes may gleam with tender light,
My love will follow you where e'er you go,
And guide your wandering footsteps, Dear, aright.
For like the ever-restless surging sea,
That links the frozen North with summer's clime,
The love within my heart for you will be,
Unchanging, Dear, until the end of time.
(to REFRAIN)
51155-R Barney Google
Git up, Spark Plug, git up!
Who's the most important man this country ever knew?
I don't know what politician you have reference to?
Well, it isn't Mr. Bryan, then it must be Mr. Hughes.
I've got a hunch and to this bunch I'm going to introduce (Who's that?):
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google had a wife three times his size,
She sued Barney for divorce,
Now he's living with his horse.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google bet his horse would win the prize.
When the horses ran that day, Spark Plug ran the other way.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Look out, Spark Plug, look out!
Who's the greatest lover that this country ever knew?
And who's the man that Valentino takes his hat off to?
No, it isn't Douglas Fairbanks that the ladies rave about.
When he arrives, who makes the wives chase all their husbands out?
Why, it's ah... Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google is the guy who never buys.
Women take him out to dine, then he steals the waiter's dime.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google is the luckiest of guys.
If he fell into the mud, he'd come up with a diamond stud.
Barney Google with his goo-goo-goo-ga-ly eyes.
Go to sleep, Spark Plug, go to sleep.
Who's the greatest fire chief this country ever saw?
And who's the man who loves to hear the blazing buildings roar?
Anytime a house is burning, and the flames leap all about,
Say, tell me do, who goes, "kerchoo!" and puts the fire out?
Why it's ah... Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google told his horse to win the prize.
He got odds of ten to eight; Spark Plug came in three days late.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google, with his goo-goo-goo-ga-ly eyes.
Barney Google tried to enter paradise.
When Saint Peter saw his face, he said, "Go to the other place".
Barney Google, with his goo-goo-goo-ga-ly eyes.
Goo-goo-goo-ga-ly, goo-goo-goo-ga-ly,
With his goo-ga-ly eyes.
51155-L Old King Tut
Hey mister?
Yes?
Can you tell me where King Toot-Toot-And-Come-In's tomb is?
Ha.... Why, tut, tut, tut, my boy. You mean King Tutankhamen's tomb.
Eh, that's the man. Do you know anything about him?
Do I know anything about him? Well, just you listen to me:
Three thousand years ago in history we know,
King Tutenkhamen ruled a mighty land.
He ruled for many years mid lots of song and cheers.
He made a record that will always stand.
Why they opened up his tomb the other day and jumped with glee,
They learned a lot of ancient history.
In old King Tut-Tut-Tutenkhamen's day,
Beneath the tropic skies King Tut-Tut-Tut was very wise.
Now old King Tut-Tut-Tut was always gay,
Cleopatra she sat upon his knee, that, that's where she sat.
The girls would dance for him and every move a treat,
They'd move and move and move but never move their feet.
A thousand girls would dance each day with lots of hip-hip-hip-hooray.
In old King Tut-Tut-Tut-Tut, King Tuttie's day.
His tomb instead of tears was full of souvenirs,
He must have traveled greatly in his time.
The gold and silverware that they found hidden there,
Was from hotels of every land and clime.
While going through his royal robes they found up in his sleeve,
The first love letter Adam wrote to Eve.
In old King Tut-Tut-Tutenkhamen's day,
The dances then in style would even make the old Sphinx smile.
In old King Tut-Tut-Tutenkhamen's day,
On the desert sand Old King Tuttie's band played while maidens played.
They danced for old King Tut 'neath moonlit skies for warmth,
They wore such happy smiles and were in perfect form.
They danced for him both fat and thin, he didn't care a darn what shape they were in,
In old King Tut-Tut-Tut, King Tuttie's day.
In old King Tut-Tut-Tutenkhamen's day,
There was no Mr. Heinz with 57 different kinds,
In old King Tut-Tut-Tutenkhamen's day,
Peaches of that land, they were never canned.
Pears loved anywhere,
Why Sam from Alabam' would not run 1-2-3,
Oh what a mark he'd be for old Marc Antony,
Why Valentino as a sheik he wouldn't last a half a week,
In old King Tut-Tut-Tut-Tut-Tut-Tut-Tut King Tuttie's day.
51177-R Yes! We Have No Bananas--Fox Trot
Yes! We have no bananas.
We have no bananas today.
We've string beans and onions, cabbages and scallions,
and all kinds of fruit. And say,
We have an old-fashioned tomato,
Long Island potato.
But, yes! We have no bananas.
We have no bananas today.
51196-R Parade Of The Wooden Soldiers
The toy shop door is locked up tight,
And everything is quiet for the night,
When suddenly the clock strikes twelve,
The fun's begun!
The dolls are in their best arrayed,
There's going to be a wonderful parade.
Hark to the drum, oh, here they come,
Cries everyone!
Hear them all cheering, now they're nearing!
There's the captain stiff as starch.
Bayonets flashing, music crashing,
As the wooden soldiers march.
Sabers clinking, soldiers winking,
At each pretty little maid.
Here they come, here they come,
Here they come, here they come,
Wooden soldiers on parade.
Daylight creeping, dollies sleeping,
In the toyshop window fast.
Soldiers jolly, think of each dolly,
Dreaming of the night that's past;
In the morning, without warning,
Toyman pulls the window shade,
There's no sign the Wood brigade
Was ever out upon parade.
Hear them all cheering, now they're nearing!
There's the captain stiff as starch.
Bayonets flashing, music crashing,
As the wooden soldiers march.
Sabers clinking, soldiers winking,
At each pretty little maid.
Here they come, here they come,
Here they come, here they come,
Wooden soldiers on parade.
Rah! Rah! Rah!
Daylight creeping, dollies sleeping,
In the toyshop window fast.
Soldiers jolly, think of each dolly,
Dreaming of the night that's past;
In the morning, without warning,
Toyman pulls the window shade,
There's no sign the Wood brigade
Was ever out upon parade.
51196-L That's My Baby
Listen, oh listen, say listen to me. What d'ya want to say, boy?
I can't stop raving somehow. You're raving now,
About your baby, some baby, sweet as can be.
I couldn't live without her! Come on and tell me all about her.
If you see eyes, blue as the skies, and they tantalize you, that's my baby,
When your nerves thrill, your heart can't keep still, you're looking at my baby.
When she steps out, there's not a doubt, she's some classy baby, there's no maybe.
When she's teasin' better go slow. Hmm! There's a good reason, I ought to know.
Hard to get? You bet! 'Cause that's my (your) baby.
When nights are blue, I know just who, I can always go to there's no maybe.
You're her sheik? Hmph. She is my pet. She kissed you last week. And I feel it yet.
What a wow, and that's my (your) baby.
Over and over, all over I'll say. What d'ya want to say, boy?
She's on my mind all the time. She's on your mind.
You're always dreaming, and scheming, and planning the day.
My baby keeps me guessing. No wonder you're confessing.
Nights at our home, when we're alone, we both play the saxophone, oh baby.
Then we'll hold hands, always it's grand, she understands, my baby.
My sugarplum, though she looks dumb, she knows all the wisecracks, that's no maybe.
She's about this? Yes, just about that. A little bit thin, and a little bit fat.
Dynamite! You're right 'cause that's my (your) baby.
When she steps out, there's not a doubt, she's some classy baby, there's no maybe.
When she's teasin' better go slow. Hmm! There's a good reason, I ought to know.
Hard to get? You bet! 'Cause that's my (your) baby.
51219-R Marcheta (A Love Song Of Old Mexico)
Marcheta, Marcheta, I still hear you calling,
Me back to your arms once again.
I still feel the spell of your last kiss upon me,
Since then, life has been all in vain.
All has been sadness without you, Marcheta,
Each day finds me lonely and blue.
My poor heart is broken, I want you, Marcheta,
I need you, Marcheta, I do.
Marcheta, Marcheta, in dreams I can see you,
Your sweet face with love all aglow.
Your voice, like soft music, still echoes around me,
As in the old days long ago.
Come back, come back, dear, with you here, Marcheta,
Then life once more joyful will be.
The world's drear and lonely and sunless, Marcheta,
Your love was life's sunshine to me.
51219-L Say It With A Ukulele
Something's sweet about a Ukulele,
Mighty full of syncopation too;
Proper thing for serenading ladies,
If you're up-to-date in what you do,
Modern girls are tired of dreary love songs,
You must give them something that is new.
So, say it with a Ukulele,
Lay aside the fiddle and the bow;
Strum a tune from Sunny Honolulu,
And you're bound to win the sweetest girl you know;
Say it with a Ukulele,
Say it with a rhythm free and gay;
Say it with a wicked Ukulele,
If you want to steal a flapper's heart away.
So, say it with a Ukulele,
...
Strum a tune from Sunny Honolulu,
...
Say it with a Ukulele,
...
Say it with a wicked Ukulele,
... .
Syncopation, (Whooh)
Some sensation, (Whooh)
Great creation, (Whooh)
Wonderful strain;
Pretty melody,
Easy as can be,
Listen once again.
Every little girl on Broadway,
Cries for Hula music day by day.
Say it with a wicked Ukulele,
If you want to steal a flapper's heart away.
Maybe you're in love with some sweet baby,
Doing all you can to make her fall;
Maybe you've proposed and been rejected,
Boy, you've used the wrong approach that's all;
Teach yourself to use a nimble finger,
Climb upon that girlie's garden wall.
And, say it with a Ukulele,
Say it in a Hula Hula way;
Play a tune upon your lady's heartstrings,
With Hawaiian melodies so sweet and gay;
No need for a grand piano,
Saxophones and jazz have had their day;
Say it with a wicked Ukulele,
If you want to steal a flapper's heart away.
Just say it with a Ukulele,
...
Play a tune upon your lady's heartstrings,
...
No need for a grand piano,
...
Say it with a wicked Ukulele,
... .
Syncopation, (Whooh)
Some sensation, (Whooh)
Great creation, (Whooh)
Wonderful strain;
Pretty melody,
Easy as can be,
Listen once again.
Every little girl on Broadway,
Cries for Hula music day by day.
Say it with a wicked Ukulele,
If you want to steal a flapper's heart away.
51221-R Oh! Sister, Ain't That Hot!
Bill Bailey is some struttin' fool, you hears everybody say.
His ears go up just like a mule when he hears the music play.
At every ball, in every hall where jazz predominates,
Them high brown gals all sigh, when they hears sweet William cry:
Oh! sister ain't that hot! Oh! sister ain't that hot!
That band is full of pep and when you step it makes you sizzle.
Oh! sister ain't that hot! It's hot as hot can be.
Them lovin' blues that leader man plays sets your two shoes right in a blaze.
When he lets go he's got the devil below, lookin' like an Eskimo.
Oh! Sister ain't that hot!
When they's playin' the blues smoke comes out of my shoes.
Folks says I'm a live wire, just an oil can on fire.
But I don't mind things like that,
I's gwine to grab myself a fireman's hat! And holler:
Oh! sister ain't that hot!
That band is full of pep and when you step it makes you sizzle.
Oh! sister ain't that hot! It's hot as hot can be.
When he lets go he's got the devil below, lookin' like an Eskimo.
Oh! Sister ain't that hot!
Now some folks likes a morris chair, some prefers a baby grand.
But things like that cannot compare with that Southern Hotlips band.
They razz-ma-tazz a brand of jazz, I'll say it can't be beat.
They make the polar bear go crazy with the heat.
Oh! sister ain't that hot! Oh! sister ain't that hot!
That band is full of pep and when you step it makes you sizzle.
Oh! sister ain't that hot! It's hot as hot can be.
They say that Nero went off his dome, played his fiddle at the burnin' of Rome.
But he was slow, the band you all know, burns up everyplace they go.
Oh! Sister ain't that hot.
51221-L Oh! How He Lied to Me
Don't ask me why I look worried,
and why there is tears in me eyes.
Why I'm just a doll what has fallen in love
with one of those heart-breakin' guys.
He told me he loved me, but Oh! How he lied,
Oh! How he lied, Oh! How he lied.
Me poor heart is broken, and Oh! How I cried,
He made a fool of me.
He told me my money would lead me astray,
And just to protect me he took it away.
He said he'd return it on some rainy day,
but Oh! How he lied to me.
He said "Good-bye, Miss Farino,"
One night as he started to go.
He whispered "My Lena, I'll dream, dear, of you."
But my name's not Lena, it's Lou.
He told me he loved me, but Oh! How he lied,
Oh! How he lied, Oh! How he lied.
Me poor heart is broken, and Oh! How I cried,
He made a fool of me.
On last Christmas Eve he made me very cross,
I cried me poor eyes out and it was because,
He tried to tell me there was no Santy Claus,
But Oh! How he lied to me.
"I wants to see Washington someday," he said.
Then I loaned him the money and said, "Go ahead!"
But someone just told me George Washington's dead.
But Oh! How he lied to me.
He told me to bet on a horse named Georgette,
It'll win 10 to 1 what a fortune you'll get!
It's now 10 to 5 and the horse ain't in yet.
But Oh! How he lied to me.
He said he loves children, our wedding was set,
A nice baby carriage I went out to get.
We've been married 10 years, we ain't used it yet,
But Oh! How he lied to me.
51227-R Wonder If She's Lonely, Too
Somebody kissed me then said, Goodbye.
Said it was best we should part.
I sit and ponder wondering why
Somebody played with my heart.
REFRAIN:
Wonder if she's lonely, wonder if she's sorry,
Wonder if she's happy now.
Wonder if she's thinks of bygone years,
Wonder if she's laughing at my tears.
Wonder if she's yearning, wonder if she's learning,
What it means to be untrue.
Wonder if she knows all I've gone through,
Wonder if she's lonely, too.
Perhaps somebody tries to forget,
All of the joy we once knew.
Perhaps somebody cries with regret,
Perhaps she's wondering, too.
(To REFRAIN)
51227-L Cry Baby
Don't you ever feel as though you'd like to have someone to cheer you?
Gee, it must be great to have somebody cuddling near you.
It must be wonderful to have someone to drive your tears away,
Someone to sympathize, look in your eyes and say:
REFRAIN:
You're just a little cry baby,
You weep but don't know why, baby,
Why don't you dry your eye, baby,
Bid sorrow adieu.
I hate to see you sigh, baby.
If you were only my baby,
You know I'd gladly die, baby,
For a cry baby like you.
(Repeat with Boo-hoo-hoos)
All your life to have someone calling you darling and sweet one.
Don't know how I'd feel but I'll tell you as soon as I meet one.
If I should ever have a fellow who was blue I'd make him gay.
What would you do to him? I'd coo to him this way:
(to REFRAIN)
51235-R That's A Lot Of Bunk
Don't believe a thing you hear nor half of what you see.
That's what mother said to me when I was a kid of three.
Now I know that she was right, right in every way.
In the papers every day, here's what the headlines say.
Chorus girls are darn good cooks, that's a lot of bunk.
And politicians are not crooks, that's a lot of bunk.
Two girls took two boys in their car and when they got out pretty far,
The boys said stop or we'll tell Ma! That's a lot of bunk!
Father gets a hammer, there's a fly on baby's head-head-head-head-head-head-head-head.
Taxi drivers never cheat, now that's a fabrication.
Cops are always on their beat, why that's a lot of hokum.
I took a showgirl out with me, you dined at Pepe's Le Paree.
She said I'll just take cake and tea, that's a lot of bunk.
She knocked my apartment, and so I knocked her flat-flat-flat-flat-flat-flat-flat-flat.
Waiters never take a tip, that's a lot of p-u-n-k.
Car conductors never dip, that's a lot of b-u-n-k.
Only just the other day I phoned two thousand miles and say,
I got my number right away, that's a lot of bunk.
We gotta goat without any nose but gosh how he can smell.
This fool song has got no sense when all is said and done.
But I think it's lots of fun, and we've only just begun.
Don't you think our audience will think that we're a bore?
Well I hope they don't get sore, 'cause we're gonna sing some more.
My landlord's a poor old gent,
And he'd never raise the rent,
The cats in all the yards, oh my, they sing so sweet they swing so high,
I love to hear their lullabye.
Throw a sponge in the water, then you'll see something swell-swell-swell-swell-swell-swell-swell-swell.
Rich men lead an awful life, that's a lot of bunk.
Every man suits to his wife, that's a lot of .. Uh-uh-uh, be careful!
The soldiers fought for you and me, they fought for our liberty,
They'll get their bonus, wait and see, that's a lot of bunk.
Automobiles come from China, because they go hong-kong-hong-kong-hong-kong-hong-kong-honk.
Everybody loves to die, that's a lot of bunk.
Little babies never cry, that's a lot of bunk.
I met a tramp whose funds were low, I listened to his tale of woe,
And said, "Poor man, take all my dough." That's a lot of bunk.
We have apples, we have pears, yes we have no fruit!
Bunk-bunkety-bunk-bunk-bunk-bunk!
51235-L That Old Gang Of Mine
Hello, old timer, say you're looking good.
What brings you down to the old neighborhood?
I miss the gang that has drifted apart,
I've got a sad feeling down in my heart.
Gee, but I'd give the world to see that old gang of mine.
I can't forget that old quartet that sang "Sweet Adeleine."
Good-bye forever, old fellows and gals.
Good-bye forever, old sweethearts and pals. (God bless them!)
Gee, but I'd give the world to see that old gang of mine.
You know, Ernie, I'd give the world and its gold if I could bring back the gang to the old neighborhood.
Yes, Bill, when I look at those houses, unchanged by years, in my throat there's a lump, and my eyes fill with tears.
Take a peek at that lamppost, the pump and the stoop. Say, can't you remember us kids in a group?
Why, there was Shorty and Yeller and Skinny and Mike, and the rich kid who had ball bearing skates and a bike.
And look! Down near the school, there's the same old brick wall where we used to go for a game of handball. And do you remember the janitor who chased us away?
Do I? Heh, heh! What wouldn't I give just to see him today.
And then came the parties and dances, that's why we didn't notice the years going by.
And the first thing we knew we were all twenty-one, but the gang stuck together in fight or in fun.
But we're back on the corner in the old neighborhood. What's the matter pal, there's a tear in your eye.
Yes, Bill, I don't know a face in the crowd going by.
Gone forever are the pals that we loved. There isn't a trace or a sign of that regular honest-to-goodness old bunch that I call "that old gang of mine." God bless them!
Gee, but I'd give the world to see that old gang of mine.
I can't forget that old quartet that sang "Sweet Adeleine."
Sweet Adeleine, my Adeleine.
Good-bye forever, old fellows and gals.
Good-bye forever, old sweethearts and pals. (God bless them!)
Gee, but I'd give the world to see that old gang of mine.
51251-R Mother Goose Songs No. 1
Hickory Dickory Dock,
The mouse ran up the clock.
The clock struck one,
The mouse ran down!
Hickory Dickory Dock.
Three blind mice, three blind mice,
See how they run, see how they run!
They all ran after the farmer's wife,
Who cut off their tails with a carving knife.
Did you ever see such a sight in your life,
As three blind mice?
Little Boy Blue, come blow your horn,
The sheep's in the meadow, the cow's in the corn.
Where is the boy that looks after the sheep?
"He's under the haycock, fast asleep."
Will you wake him? "No, not I;
For if I do, he'll be sure to cry."
Humpty dumpty sat on a wall,
Humpty dumpty had a great fall.
All the King's horses and all the King's men,
Couldn't put Humpty together again.
Jack and Jill went up the hill to fetch a pail of water.
Jack fell down and broke his crown,
And Jill came tumbling after.
Up Jack got, and home did trot as fast as he could caper,
Went to bed to mend his head,
With vinegar and brown paper.
Three little kittens, they lost their mittens,
And all began to cry.
Oh, mother dear, we sadly fear,
Our mittens we have lost.
What! Lost your mittens, you naughty kittens!
Then you shall have no pie.
Mee-ow, mee-ow, mee-ow, mee-ow,
Mee-ow, mee-ow, mee-ow.
Baa, baa, black sheep,
Have you any wool?
Yes sir, have I,
Three bags full.
One for my master,
And one for my dame,
But none for the little boy,
That lives down the lane.
Tom, Tom the piper's son,
Stole a pig and away did run.
The pig was eat, and Tom was beat,
And Tom went roaring down the street.
Sing a song of sixpence, a pocket full of rye,
Four and twenty blackbirds, baked in a pie.
When the pie was opened, the birds began to sing.
Wasn't that a dainty dish to set before a king?
Hey diddle diddle, the cat and the fiddle,
The cow jumped over the moon.
The little dog laughed to see such sport,
And the dish ran after the spoon.
Oh dear, what can the matter be?
Dear, dear, what can the matter be?
Oh dear, what can the matter be?
Johnny's so long at the fair.
He promised to buy me a trinket to please me,
And then for a smile, oh! He vowed he would tease me.
He promised to bring me a bunch of blue ribbons,
To tie up my bonny brown hair.
51251-L Mother Goose Songs No. 2
A-B-C-D-E-F-G, H-I-J-K-L-M-N-O-P,
Q-R-S and T-U-V, W and X-Y-Z.
Happy, happy shall we be,
When we've learned our A-B-C's.
Mary had a little lamb,
Little lamb, little lamb,
Mary had a little lamb,
Its fleece was white as snow.
Everywhere that Mary went,
Mary went, Mary went,
Everywhere that Mary went,
The lamb was sure to go.
Polly put the kettle on,
Polly put the kettle on,
Polly put the kettle on,
We'll all have tea.
Suki take it off again,
Suki take it off again,
Suki take it off again,
They've all gone away.
Ding dong bell, pussy's in the well.
Who put her in? Little Johnny Green.
Who'll pull her out? Big John Stout.
What a naughty boy was that,
To drown our poor little pussycat.
The farmer in the dell,
The farmer in the dell,
Hi-ho, the derry-o,
The farmer in the dell.
The farmer takes a wife,
The farmer takes a wife,
Hi-ho, the derry-o,
The farmer in the dell.
Here we go 'round the mulberry bush,
The mulberry bush,
The mulberry bush.
Here we go 'round the mulberry bush,
So early in the morning.
Ring around the rosie,
Pick a pot of posie,
All the girls in our town,
Vote for Uncle Josie.
We come to see Miss Jenny Jones,
Jenny Jones, Jenny Jones.
We come to see Miss Jenny Jones,
How is she today?
She's sweeping!
We're right glad to hear it, yes,
To hear it, to hear it.
We're right glad to hear it, yes,
And how is she today?
A-tisket, a-tasket,
Green and yellow basket,
I wrote a letter to my love,
And on the way I dropped it.
I dropped it, I dropped it,
And on the way I dropped it.
Little Bo Peep has lost her sheep,
And can't tell where to find them.
Leave them alone, and they'll come home,
Wagging their tails behind them.
London Bridge is falling down,
Falling down, falling down,
London Bridge is falling down,
My fair Lady.
Build it up with iron bars,
Iron bars, iron bars,
Build it up with iron bars,
My fair Lady.
51278-R Opera Reel With Calls
Outside back.
Down in the center.
Back.
Cast off one.
Right and left.
Balance in the center.
Outside.
Back.
Down in the center.
Back.
Cast off one.
Right and left
Balance in the center.
(repeat twice)
Down on the outside.
Back.
Down in the center.
Back.
Cast off one.
Right and left.
Balance in the center.
Down on the outside.
Back.
Down in the center.
Back.
Cast off one.
Right.
Balance in the center.
Down on the Outside.
Back.
Down in the center.
Come back.
Cast off one.
Right and left.
51284-R Mother Goose Songs No. 3
Now, Old King Cole was a merry old soul,
And a merry old soul was he;
He called for his pipe, and he called for his bowl,
And he called for his fiddlers three.
And every fiddler had a fine fiddle,
And every fiddler had a fine fiddle;
And a very fine fiddle had he,
And a very fine fiddle had he.
For Old King Cole was a merry old soul,
And a merry old soul was he;
He called for his pipe, and he called for his bowl,
And he called for his fiddlers three.
See, saw, Marjorie Daw,
Jack shall have a new master.
He shall have but a penny a day,
Because he won't work any faster.
Hark, hark! the dogs do bark!
Beggars are coming to town:
Some in jags, some in rags,
And some in velvet gowns.
Some in jags, some in rags,
And some in velvet gowns.
To market, to market, to buy a fat pig,
Home again, home again, jiggety-jig;
To market, to market, to buy a fat hog;
Home again, home again, jiggety-jog.
All around the cobblers bench,
The monkey chased the weasel.
The monkey thought was all in fun,
Pop goes the weasel!
I've no time to wait or sigh,
No patience to wait till bye and bye.
Kiss me quick -- I'm off -- goodbye!
Pop goes the weasel!
Ride a black horse to Banbury Cross,
To see a fine lady upon a white horse.
Rings on her fingers and bells on her toes.
She shall have music wherever she goes.
Pease porridge hot!
Pease porridge cold!
Pease porridge in the pot,
Nine days old.
Pussycat, pussycat, where have you been?
I've been to London to visit the Queen.
Pussycat, pussycat, what did you there?
I frightened a little mouse under her chair.
Pattycake, pattycake baker's man,
That I will master as quick as I can.
Prick it, and nick it, and mash it with glee,
And there will be plenty for Baby and me!
For Baby and me, for Baby and me,
And there will be plenty for Baby and me!
If I could play in a big brass band,
I would play on a big bass drum.
And every time that the band would play,
You would hear it go boom, boom, boom!
51284-L Mother Goose Songs No. 4
Soldier boy, soldier boy, where are you going,
Waving so proudly the red, white and blue?
I'm going to my country for duty is calling,
If you'll be a soldier boy, you may come too.
Little Jack Horner sat in a corner,
Eating a Christmas pie.
He put in his thumb, and pulled out a plum,
And said, "What a good boy am I!"
Little Miss Muffet sat on a tuffet,
Eating some curds and whey.
There came a great spider, and sat down beside her.
And frightened Miss Muffet away!
Little Tommy Tucker sing for your supper,
What shall he sing for? White bread and butter.
How can he cut it without any knife?
How can he marry without any wife?
Jack be nimble,
Jack be quick,
Jack jump over the candlestick.
Jack be nimble,
Jack be quick,
Jack jump over the candlestick.
Simple Simon met a pieman
Going to the fair;
Says Simple Simon to the pieman,
"Let me taste your ware."
Says the man to Simple Simon,
"Do you mean to pay?"
Says Simon, "Yes, of course I do."
And then he ran away.
Let your feet tramp-tramp,
Let your hands clap-clap,
As each one makes a bow.
Tra la la ...
As each one makes a bow.
Twinkle, twinkle, little star,
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky,
Twinkle, twinkle, little star,
How I wonder what you are.
Fiddle-de-dee, Fiddle-de-dee,
The Fly has married the Bumble Bee,
Said the fly, said he, "Will you marry me?
And live with me, sweet Bumble Bee?"
Fiddle-de-dee, Fiddle-de-dee,
The Fly has married the Bumble Bee.
The north wind doth blow,
And we shall have snow,
And what will poor robin do then?
He'll sit in a barn,
And keep himself warm,
And pop his head under his wing.
Poor thing.
One little, two little, three little Indians,
Four little, five little, six little Indians,
Seven little, eight little, nine little Indians,
Ten little Indian boys.
Ten little, nine little, eight little Indians,
Seven little, six little, five little Indians,
Four little, three little, two little Indians,
One little Indian boy.
51294-R The Little Wooden Whistle Wouldn't Whistle
Mary had a little wooden whistle.
'Twas a little present from her Dad.
He said, "Mary if there's any trouble dear,
Blow the little whistle and your Daddy will be near."
She went strolling with a chap that evening,
In the park he started getting gay.
He said, "Please give me a little squeeze."
And Mary grabbed the whistle right away.
But the little wooden whistle wouldn't whistle,
Wouldn't whistle, wouldn't whistle.
Now he was not so slow, at kissing her, you know,
And every time he'd steal a kiss, she'd blow, blow, blow,
But the little wooden whistle wouldn't whistle,
No matter how she tried it wouldn't go.
He said "You're just the kind of girl for me,"
Then kissed her underneath the willow tree.
She tried to blow the whistle, the little wooden whistle,
But the little wooden whistle wouldn't blow.
She couldn't cry for help, she was so hoarse,
And so she did the next best thing of course.
She tried to blow the whistle, the little wooden whistle,
But the little wooden whistle wouldn't blow!
Mary and her Dad went to a picnic,
There she met a nifty little chap.
He said, "Let's go on the lake, dear, for a row."
Quickly she consented for she loved the water so.
Very soon the boat he started rocking,
When they were a mile or so from land.
She was scared but she had come prepared,
And grabbed the little whistle in her hand.
But the little wooden whistle wouldn't whistle,
Wouldn't whistle, wouldn't whistle.
She said, "Now, Johnny row," but Johnny he said "No."
And every time he'd rock the boat she'd blow, blow, blow.
But the little wooden whistle wouldn't whistle,
No matter how she tried it wouldn't go.
He said, "You know it's useless, dear, to squawk.
If you don't like it, why just get out and walk."
She tried to blow the whistle, the little wooden whistle,
But the little wooden whistle wouldn't blow.
And as he stole his arm around her waist,
She felt his mustache tickling her face,
She tried to blow the whistle, the little wooden whistle,
But the little wooden whistle wouldn't blow!
51294-L Finnegan's In Again
Sure it was old Erin's ball, in Erin's hall, the seventeenth of March.
Everything was bright at least for Ireland's peaceful sons and daughters.
Sure the Doogans and the Coogans and the Clancy's all were out.
By and by, the fight began and they heard Murphy shout:
CHORUS:
It's Finnegan, for the love of Mike, he's in again.
Soon the trouble will begin again,
Now that Finnegan's around,
Now (go) tell the doorman.
Flanagan, ought to call up Dr. Brannigan.
Telephone him that old Finnegan, is in again,
And he's runnin' around in his bare skin again.
Hooligans, try and get the neighbors cool again.
Stand in front of Miss O'Toole again,
For the sake of Auld Lang Syne.
Can you see him, Mrs. Cassidy?
Flanagan, tell the leader of the band again,
To play off again, on again.
Finnegan's in again,
And there's the devil of a time.
(first time repeat CHORUS)
Peace reigned at old Erin's ball in Erin's hall the seventeenth of March.
Everything was running fine. Without the wine, the folks were merry.
Sure Bedelia and Cecilia entered in the jig and reel.
In the midst of all the joy, they heard Cecilia squeal:
(to CHORUS)
51295-R Oh! Susanna
I came from Alabama,
With my banjo on my knee,
I'm gwyne to Louisiana,
My true love for to see;
It rained all night the day I left,
The weather it was dry,
The sun so hot I froze to death,
Susanna, don't you cry.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
I jumped aboard de telegraph,
And trabbled down de riber,
De lectric fluid magnified,
And killed five hundred n*.
De bullgine bust, de horse run off,
I really thought I'd die;
I shut my eyes to hold my breath,
Susanna, don't you cry.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
I had a dream de other night
When everything was still,
I thought I saw Susanna
A coming down de hill;
The buck-wheat cake was in her mouth,
The tear was in her eye;
Says I, "I'm coming from de south,
Susanna, don't you cry."
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
I soon will be in New Orleans,
And den I'll look all round,
And when I find Susanna,
I will fall upon de ground.
And if I do not find her,
Dis darkie'l surely die,
And when I'm dead and buried,
Susanna, don't you cry.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
Oh! Susanna, Oh don't you cry for me,
I've come from Alabama
With my banjo on my knee.
51295-L Lindy Lady
Down where the Southern roses grow,
Soon my honey gal will know my love I’m bringing,
As is days of yore,
For when the moon is all aglow,
Down the lane you’ll see me go,
And hear me singing, near the cabin door.
CHORUS:
Lindy, Lady come out and meet me, ’neath the mellow moon,
The nightingale is singing just for you;
The smiling moon is waiting for us two;
I stand here pleading, because I’m needing,
None but you, oh, honey love,
Lindy, Lady my heart is pining, won’t you come out soon?
For you can make my happiness so complete,
I’ll lay my fortune and my life at your feet,
Oh! Lindy, Lady come and meet me ’neath the mellow moon.
When I go roaming far away,
I keep dreaming night and day of my sweet Lindy,
Honey gal of mine,
Down in my heart I keep a spot,
For my sweet forgot-me-not,
My flower of Dixie, to me, she’s divine.
(to CHORUS)
51351-R Paradise Alley
Life is so dear when love is near,
Blooming, perfuming each gloomy atmosphere.
Someone who's true makes everything you view,
Look like a heaven to you. That's just why:
Any old alley is Paradise Alley,
As long as your sweetheart is there.
Though the place may be humble you don't ever grumble,
When two hearts are true hearts the sun shines everywhere.
One rose in the back of a tumbledown shack,
Makes it seem like a mansion fair.
That's why any old alley is Paradise Alley,
As long as your sweetheart is there.
Any old alley is Paradise Alley,
As long as your sweetheart is there.
Though the place may be humble you don't ever grumble,
When two hearts are true hearts the sun shines everywhere.
One rose in the back of a tumbledown shack,
Makes it seem like a mansion fair.
That's why any old alley is Paradise Alley,
As long as a sweetheart is there.
51351-L Bringin' Home The Bacon
Take a look at me, take a look at me, I'm another self-made man,
Made a lot of dough now I wants to go back home.
I've had my lessons, when it comes to runnin' wild.
Hereafter I'm confessin' I'll be Mama's angel chile.
I'm bringin' home the bacon, to a mama down in Macon,
She's waited patiently for me, for me.
You ask me why I'm shakin'; I'm excited 'cause I'm takin'
The five-fifteen back where I longs to be, said longs to be!
I've been lookin' down, and down and up but now I got success!
So the thing to do, even you are smart enough to guess.
I'm bringin' home the bacon, gonna give instead of takin',
That's makin' bacon, rakin' happiness.
I'm bringin' home the bacon, to a mama down in Macon,
She's been a sticker through and through, through and through.
Just hear me when I clutter for the biscuits, bread with the butter,
51360-R Tune In On L-O-V-E
This is station L-O-V-E, broadcasting a popular program, on a wavelength of six-thousand, five hundred and forty-five meters, which is equivalent to nine and a half horsepower. Stand by for a moment, please!
Folks, I have found myself a brand new honey,
Bright and sunny, don't care for money.
We've got a system of loving,
Proud to say it's all our own.
We never have to go out cabaret-ing,
Leave the movies alone.
Since all the world got on to that new radio craze,
We spend our evenings at home.
My sweetie and me tune in on L-O-V-E,
That's where I get some program each night.
Now W-E-A-F's great, but I have this much to state,
That there is none can compare with mine. Folks, it's just fine!
Soon as I call I get M-I-S-S and sometimes out in the hall I get K-I-S-S.
Why it's the neatest and the sweetest little station of them all, you're bound to fall.
Now for bundles of pleasure I make it emphatic.
Cupid will see I'm not bothered by static.
No need asking the experts, just take it from me,
Tune in on L-O-V-E!
My girl called up last night for more love-tuning,
Honeymooning, radio spooning.
I left my worries behind me,
Hurried right down from my home.
Even forgot to feed my poor starved kitty,
Left the hook off the phone.
Tune in on this and listen hard you poor married men,
When you are longing to roam:
My sweetie and me tune in on L-O-V-E,
That's where I got some program last night.
Now you've heard K-D-K-A and that's some station I'll say,
But there was none that compared with mine, it rolls just fine.
I thought I'd lose station L-I-F-E, when from the air came the voice of my W-I-F-E,
She said put on your hat and coat, your boots, and start to fly, before you die.
If I catch you again about this, there is no guessing,
You and your sweetie will start S-O-S-ing,
If you feel you must tune in on L-O-V-E,
Tune in with no one but me.
We heard a voice, sounded like D-A-D,
It said tune off there, young fellow, it's now half past three.
Just give your station a vacation, say good night,
And close the door, just let me snore.
Now I know about love and its wonderful glories,
Dawn is no time to tell sweet bedtime stories.
If you'd rather not hook up with my D-O-G, sign off of L-O-V-E!
51360-L In Nineteen-Ninety-Nine
There lives a man next door to me who thinks he's very wise.
A see all, know all, can't fool me, you've met those kind of guys,
At prophesyin' what's to be he thinks that he's a bear,
He'll stop you any time at all and loudly will declare:
In Nineteen-ninety-nine, in Nineteen-ninety-nine,
Although today we ride in style, they'll look back on us and smile.
In Nineteen-ninety-nine, it surely will be fine,
We'll have a lady pres-i-dent in Nineteen-ninety-nine.
Doodle-doo..., Doodle-doo...,
Yes, I'll admit we're better off than back in 'sixty-one.
'Cause ra-di-o and movin' pictures they hadn't quite begun.
And I've been gazin' at the stars and got things figured out!
There's no one in this world but me knows what that's all about (heh, heh!):
In Nineteen-ninety-nine, in Nineteen-ninety-nine,
I reckon you know what I mean, we'll be drinkin' kerosene,
In Nineteen-ninety-nine, they'll even come a time,
They won't write any Mammy songs, in Nineteen-ninety-nine.
Doodle-doo..., Doodle-doo...,
I'll let you in on somethin' else but don't you tell a soul,
This money that we spend today, they'll use that stuff for coal.
These vampire women nowadays are wearing less and less.
But they'll be wearing less and less in Ninety-nine I reckon (heh, heh!):
In Nineteen-ninety-nine, in Nineteen-ninety-nine,
For ten or twenty cents I guess, you can buy the wife a dress.
In Nineteen-ninety-nine, it won't be any crime,
To have a dozen wives or so, in Nineteen-ninety-nine.
Doodle-doo..., Doodle-doo...,
The men and women nowadays get married just for fun.
But when they try to get unhitched, their troubles start, by gum!
They hire a lawyer just to swear each other's not to blame.
Things they accuse each other of, it drives a judge insane.
But in Nineteen-ninety-nine, in Nineteen-ninety-nine,
There'll be no jury to declare what is what for they won't care.
In Nineteen-ninety-nine, divorce will take no time,
They'll even flatten that sales tax in Nineteen-ninety-nine!
51364-R Swing Low, Sweet Chariot
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
I looked over Jordan and what did I see,
Coming for to carry me home,
A band of angels coming after me,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
If you get there before I do,
Coming for to carry me home,
Tell all my friends I'm coming too,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
I'm sometimes up, I'm sometimes down,
Coming for to carry me home,
But still my soul is heavenly bound,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
Swing low, sweet chariot,
Coming for to carry me home,
Swing low, sweet chariot,
Coming for to carry me home.
51364-L (A) Shout All Over God's Heaven (B) Standin' In The Need O' Prayer
I've got a robe, you've got a robe, all God's children got a robe,
When I get to heaven gonna put on my robe, I'm gonna jump all over God's heaven, heaven, heaven.
Everybody talkin' 'bout heaven ain't goin' there, heaven, heaven,
I'm gonna jump all over God's heaven.
I've got a song, you've got a song, all God's children got a song,
When I get to heaven gonna sing a new song, I'm gonna sing it all over God's heaven, heaven, heaven.
Everybody talkin' 'bout heaven ain't goin' there, heaven, heaven,
I'm gonna sing it all over God's heaven.
I've got the wings, you've got the wings, all God's children got the wings,
When I get to heaven gonna put on my wings, I'm gonna fly all over God's heaven, heaven, heaven.
Everybody talkin' 'bout heaven ain't goin' there, heaven, heaven,
I'm gonna fly all over God's heaven,
I'm gonna fly all over God's heaven,
I'm gonna fly all over God's heaven.
'Tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
Not my mother nor my father, but it's me O Lord, standin' in the need o' prayer.
Not my mother nor my father, but it's me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
Not my sister nor my brother, but it's me O Lord, standin' in the need o' prayer.
Not my sister nor my brother, but it's me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
Not my deacon nor my elder, but it's me O Lord, standin' in the need o' prayer.
Not my deacon nor my elder, but it's me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
'Tis me, 'tis me, 'tis me O Lord, standin' in the need o' prayer.
51365-R What Has Become Of Hinky Dinky Parlay Voo
You ever think of the time when all the boys went cross the sea,
To the land of oui oui oui, where they'd stroll with sweet Parees?
Then the boys came back with a song about Hinky Dinky Parlay Voo,
If you don't recall the song at all I'll sing it over for you:
Say! What has become of Hinky Dinky Parlay Voo?
What has become of Hinky Dinky Parlay Voo?
Maybe she still is true to you, and true to the rest of the army, too!
Hinky Dinky Parlay Voo!
If you've never been over there it makes no difference, don't you see?
You can sing the melody in the best society.
Never mind the words if you like the tune then all you have to do
Is join right in, when I begin to sing the chorus for you:
Say! What has become of Hinky Dinky Parlay Voo?
Haven't you told your wife about the girls you knew?
You must have told your wife, no doubt, but I'll bet you left a lot of it out!
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
Do you remember everything that you went through?
You can forget the shocks and shells, but never forget the mademoiselles,
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
What has become of all the Jewish soldiers, too?
Many a son of Abraham has eaten ham for Uncle Sam,
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
What has become of all the field right lads you knew?
They won the war across the sea fighting the battle of gay Paree,
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
What has become of all the colored soldiers too?
Many a colored soldier's hand was rollin' the bones in no man's land.
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
What has become of all the happy times you knew?
I bet there are lots of married men who wish they were back in the army again,
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
Why do the women bob their hair the way they do?
Since they are wearing their hair that way they're washing their necks most every day!
Hinky Dinky Parlay Voo!
What has become of Hinky Dinky Parlay Voo?
What has become of every flapper that we knew?
Though she's a kind that men forget I've got her telephone number yet.
Hinky Dinky Parlay Voo!
51365-L I'm Gonna Bring A Water-Melon
All the boys love Mary, little Mary Brown,
But she's so contrary when they come around.
Only Tommy Tucker ever gets a kiss,
When the fellows corner him he tells them this:
When I brought an apple she let me hold her hand,
When I brought an orange we kissed to beat the band,
When I brought bananas she hugged me all her might,
I'm gonna bring a watermelon to my girl tonight!
When I brought an onion she said it made her cry,
When I brought a grapefruit it squirted in her eye,
When I brought mush-melon she said: "I can't elope",
I brought her garlic now I'll find her in the dark, I hope!
Listen, California, watch your orange groves!
Mary's friends, I warn ya, will come out in droves,
They'll attack each orange and they'll stew each prune,
They all dance in fruit stores now to Tommy's tune.
When I bring her rue-long it suits her to a tea,
When I bring her cocoa she always flirts with me,
When I bring her coffee we play a kissing game,
And when I bring her my home brew she tells me her right name.
When I brought a rowboat she kissed me on the cheek,
When I brought a sailboat she booked me for a week,
When I brought a tugboat she sure did treat me right,
I'm gonna bring a battleship up to my girl tonight!
When I brought a goldfish she cuddled up to me,
When I brought a polly she laughed right out with glee,
When I brought a bulldog she shouted with delight,
I'm gonna bring an elephant up to my girl tonight.
I brought Thomas Meighan, she didn't like his style,
I brought Charlie Chaplin, he didn't make her smile,
Valentino bored her no matter how he tried,
But she adores Ben Turpin 'cause he has such dreamy eyes.
51368-R Baby Sister Blues
We've got a sister, she's twenty-one,
Stays out every night 'til half past one,
Goes to parties and dances too,
While we sit at home with nothing to do.
Every night her beau comes near
Mama says, "Leave the room, Dears."
No matter how you figure it we'll get stung,
We'll be happy when we're twenty one.
We've got the baby sister blues, oh Mama,
Can't we please go out, oh Mama,
Just around to the picture show,
Things at home are oh so slow.
Oh Mama, don't you be so mean,
I'll bet when you were seventeen,
You had those baby sister blues (you wouldn't fool me, you wouldn't fool me).
Cause ya know (oh-ho-ho-ho) we're at the mean age,
Oh, we're just between age,
Just too old to play with toys,
Just too young to go out with boys.
Too old to play with dollies,
Too young to see the Midnight Follies,
That's why we've got the baby sister blues (you wouldn't fool me, you wouldn't fool me).
Cause ya know (oh-ho-ho-ho) we're at the mean age,
Oh, we're just between age,
Just too old to play with toys,
Just too young to go out with boys.
When we asked if we could go to the races,
Ma says, "Stay home and wash your dirty faces."
That's why we've got the baby sister blues (you wouldn't fool me, you wouldn't fool me).
Cause ya know (oh-ho-ho-ho) we're at the mean age,
Oh, we're just between age,
Just too old to play with toys,
Just too young to go out with boys.
When we asked if we could have some Coca-cola,
Ma says, "Stay home and play your Edisonola."
That's why we've got the baby sister blues!
51368-L One, Two, Three, Four
Down by the stream where I first met Rebecca,
Down by the stream where the sun loves to shine,
Bright-hued the garlands I wove for Rebecca,
Bright were her eyes as they gazed into mine.
REFRAIN:
One, two, three, four,
Sometimes I wish there were more,
Eins, zwei, drei, vier,
I love the one that's near,
Yet, nee, sam, see,
So say the heathen Chinee,
Fair girls bereft, they will get left,
One, two and three.
Then came a day when I first told Rebecca,
Love's olden story, old but ever new,
"Dearest," I whispered, "I love you, Rebecca,"
Softly she murmured, "And Dear, I love you."
(to REFRAIN)
51374-R The Sidewalks Of New York
Down in front of Casey's old brown wooden stoop,
On a summer's evening we formed a merry group,
Boys and girls together we would sing and waltz,
While the guinea played the organ on the sidewalks of New York.
CHORUS:
East Side, West Side, all around the town,
The tots sang "Ring-a-Rosie," "London Bridge is Falling Down."
Boys and girls together, me and Mamie Rourke,
Tripped the light fantastic on the sidewalks of New York.
That's where Johnny Casey, and little Jimmy Crowe,
With Jakey Krause, the baker, who always had the dough,
Pretty Nellie Shannon with a dude as light as cork,
First picked up the waltz step on the sidewalks of New York.
(to CHORUS)
Yaay...
Yaay...
Things have changed since those times, some are up in "G,"
Others, they are wand'rers but they all feel just like me.
They'd part with all they've got, could they but once more walk,
With their best girl and have a twirl on the sidewalks of New York.
(to CHORUS)
51374-L I'm Just A Ragged Newsboy, But My Heart's True Blue
It ain't so very long ago, since you moved just next door,
Your Daddy built a mansion big and grand.
While just a little cottage is the place that I call home,
Still we played on together, hand in hand.
Ain't I been always lover when you've been my sweetheart true?
When things went wrong I always took the blame.
You're going 'way to college now, and I've just come to say,
"I loves ya, girlie, loves ya just the same."
REFRAIN:
I'm just a ragged newsboy, but my heart's true blue,
Don't turn me down just 'cause you're leavin' now.
I know that I could never give you wealth, that's sure,
But love makes up for lots of things somehow.
The rich folks say that money won't buy everything,
I swear it couldn't buy my love for you.
So just remember, sometimes when your thoughts turn back,
There's a ragged newsboy loves ya, loves ya true.
You're goin' far away from here to learn fine things at school.
I never had a chance like that, you see.
I've always worked so Sis could go to school instead, you know,
She's 'bout the only one who cares for me.
(to REFRAIN)
51389-R Put Away A Little Ray Of Golden Sunshine For A Rainy Day
A birthday card arrived from home this morning,
I can’t forget the lesson that it taught.
I realized how wrong I was this morning,
For here’s the little message that it brought.
CHORUS:
Put away a little ray of golden sunshine for a rainy day.
Just a ray may come in mighty handy sometime when the skies are gray.
Anyone can laugh when it’s Spring,
But who knows what tomorrow may bring,
So put away a little ray of golden sunshine for a rainy day.
(repeat CHORUS)
51389-L Morning
So I’m just a rolling stone, don’t feel sorry for me.
So when the morning comes around, I know that I’ll be homeward bound.
Sunny brings me happiness, I don’t want to be late.
So tomorrow, end the sorrow, and my honey can’t wait, so:
CHORUS:
Morning, morning,
Oh, won’t you ever come ‘round?
I love to open up my eyes, and get a glimpse of Paradise,
My homeland, homeland, I am returning to you,
To no one spoil a joy of yours, say, it’s too good to be true.
Who is that I see, busy as a bee,
Hanging up the welcome sign and she let’s me,
What is that I hear, better be a tear,
Lordy, it’s the gang of mine, I know them.
Meet me, greet me, with a leaven above,
Oh Morning, morning,
Won’t you ever come ‘round?
(repeat CHORUS)
51391-R Jealous
Oh sweetheart, sweetheart, I tried my best,
To let you do just as you please.
But my heart, poor heart won't turn the test,
I find it's full of little jealousies.
I tried and tried to hide it all from you,
But really, Dear, it's more than I can do.
REFRAIN:
I'm jealous of the moon that shines above,
Because it smiles upon the one I love.
I'm jealous of the birdies in the trees,
They're always singing sweetest melodies.
I'm jealous of the pretty flowers, too,
I miss the kiss they always get from you.
I'm jealous of the "tick-tock" on the shelf,
I'm even getting jealous of myself.
Each day, dear, I fear, I'm losing you,
That soon you'll leave me all alone.
If you go, you'll know that I'll be blue,
Just longing for the one I call my own.
I hardly know just where to place the blame,
But here are quite a few things I could name:
(to REFRAIN)
51391-L The Pal That I Loved Stole The Gal That I Loved
I met a downhearted lad,
He had a tear in his eye,
I wondered why he felt sad,
Then he whispered to me with a sigh:
The pal that I loved stole the gal that I loved,
And took all my sunshine and joy.
Nobody but he was a buddy to me,
Since we played on the floor with our toys.
I just can't believe my old pal would deceive,
Gee, but I'm heartsick and sore,
The pal that I loved stole the gal that I loved,
That's why we're not pals anymore.
I stopped and pondered awhile,
It seemed as strange as could be.
Somehow I just had to smile,
For the same thing once happened to me.
The pal that I loved stole the gal that I loved,
And took all my sunshine and joy.
Nobody but he was a buddy to me,
Since we played on the floor with our toys.
I just can't believe my old pal would deceive,
Gee, but I'm heartsick and sore,
The pal that I loved stole the gal that I loved,
That's why we're not pals anymore.
I just can't believe my old pal would deceive,
Gee, but I'm heartsick and sore,
The pal that I loved stole the gal that I loved,
That's why we're not pals anymore.
51392-R Sister Hasn't Got A Chance Since Mother Bobbed Her Hair
Extra, extra, special extra, here’s some news for you.
You’ll reach out and I’ll keep out of acorn brew.
It’s about my flapper sister flying flips the best.
Today she took an awful flop, her beaus have left her flat.
Sister hasn't got a chance since mother bobbed her hair.
You talk about your best, mother throws a wicked laugh.
Now that ma is young again she’s given dad the air.
She has fellows by the score, some as young as eighty-four.
Sister hasn't got a chance since mother bobbed her hair.
There’s bob haired Chinese, bob haired Heinese, bob haired Portuguese,
Bob haired rowbacks, beezaks bozaks, bob haired twist and Brits.
There’s bob haired Syrians and Siberians, Belgians, Poles and Wops.
And I see an Indianolamen seize a barb haired cop.
Sister hasn't got a chance since mother bobbed her hair.
At dancing she’s a hound, system out there lays them down.
If there blouses bloom like places like a grizzly bear. (Rrrrr)
That is all right, I’m telling you. Grab my garland tell it true. Heh, heh…
Sister hasn't got a chance since mother bobbed her hair.
Extra, extra, special extra, headlines play the day.
Daughters all went out on strike and threw their blooms away.
There’s a reason, darn good reason, that you will agree.
All the mothers poked relations, all their hair bobs free.
Sister hasn't got a chance since mother bobbed her hair.
Now mother’s widely seen, gives her age at twenty-three.
Talk about your tribune wealth, I’ll tell you she’s all there.
Sister’s got a lot to learn, Ma’s an old savage berm.
Sister hasn't got a chance since mother bobbed her hair.
There’s bob tailed horses, bob tailed mushes, bob tailed rabbit stew,
Bob tailed cats and bob tailed hats and kangaroos.
There’s bob-o-links and barbed wired drinks, and bob tails in a coke.
Bob tailed bulldogs, bob tailed bull frogs, bobtailed many a goat.
Sister was the cat’s meow (Meow), Ma’s the bulldog, bow-wow-wow (Rrrr)
Sister hasn't got a chance since mother bobbed her hair.
51392-L Go 'Long, Mule
I’ve got a mule, he’s such a fool,
He never pays no heed,
I built a fire ’neath his tail,
And then he showed some speed.
The mule refused to work for me,
I found the cause of that.
Her learned I was a Republican,
And he’s a Democrat.
CHORUS:
Oh go ’long mule, don’t you roll dem eyes,
You can change a fool but a daw-gone mule,
Is a mule until he dies.
Oh go ’long mule, don’t you roll dem eyes,
You can change a fool but a daw-gone mule,
Is a mule until he dies.
I drove down to the graveyard once,
Some peaceful rest to find,
But when a black cat crossed my path,
I sure did change my mind.
A cowslip ain't no kind of' slip,
To slip upon a cow.
That's why a catfish never answers to a cat's meow.
(to CHORUS)
Old lazy Henry found a hen,
Don't know whose hen he found.
Each day the good hen laid an egg,
And Henry laid around.
I hear that he has just stepped out,
To rob a chicken coop.
When he returns he’ll find the sheriff,
Waiting on the stoop.
(to CHORUS)
The more you wait, the more you’ll hear,
The old folks do declare.
Today I heard that Liza Green,
Wore cotton underwear.
Oh, she invited me to dine,
I went prepared to eat.
But on each place upon my plate,
Was chicken eggs and beets.
(to CHORUS)
51399-R Carry Your Cross With A Smile
Though your heart may be heavy with sorrow and care,
You may others to gladness beguile,
If a face like the light of the morning you wear,
And carry your cross with a smile!
REFRAIN:
Carry your cross with a smile, (with a smile)
Carry your cross with a smile; (with a smile)
You may others from sadness to gladness beguile,
If you carry your cross with a smile.
(last time repeat)
Let the well by the wayside that flows unto all,
Give you strength for each step of the mile;
Let your faith the great promises often recall,
And carry your cross with a smile!
(to REFRAIN)
For the work that you faithfully, willingly do,
You shall reap a reward after while;
Only grace in your service can glorify you,
So carry your cross with a smile!
(to REFRAIN)
51399-L All The Way To Calvary
I do not ask for diadem or scepter,
I do not seek for worldly joy or fame,
I only ask to follow my Redeemer,
And tell abroad the wonders of His name.
CHORUS:
I will travel all the way to Calvary,
I will walk the road that Jesus walked for me,
I will serve Him to the end, for He is my dearest friend,
I will travel all the way to Calvary.
I know the path He trod is never easy,
It cost the Son of God His precious blood,
It leads on to the cross of nameless anguish,
But ever climbeth upward unto God.
(to CHORUS)
So trusting in His love, I'll toil and suffer,
Supported by His everlasting grace,
Until at last I rise complete, perfected,
Transformed to look upon His blessed face.
I will serve Him to the end, for He is my dearest friend,
I will travel all the way to Calvary.
51413-R Dreary Weather
I used to find sunshine in your loving eyes,
We parted then clouds came to darken the skies;
My teardrops remind me of rain,
While I sit alone and complain.
CHORUS:
This dreary weather makes me feel blue,
All would be sunshine were I with you.
We'd stroll together down through the lane,
Where cooing bluebirds sing love's refrain;
I love to whistle your favorite tune,
Beneath the pale moon we two could spoon,
But fate prevents me from seeing you.
This dreary weather makes me feel blue.
(repeat CHORUS)
51413-L Italian Rose
In the forie where skies are blue,
That's where I gave my heart to you.
I call you my Italian Rosebud,
You promised to be true.
CHORUS:
Italian Rose, Italian Rose,
I'm missing you, kissing you
Loving you in dreams both night and day.
Your ruby lips, your fingertips,
Your eyes are calling me back to Atlanta far away.
I'm feeling blue, 'cause I need you,
I'm coming home to you now and forever I'll be true.
I'll swim across that moonlit bay.
And all the world will hear me say,
I love Italian Rose.
(repeat CHORUS)
51414-R I Wonder What's Become Of Sally?
Old time pals and old time gals,
Where are your smiles today?
Friends of old would talk of gold,
Where have you drifted away?
Where is Johnny and Mary and all the rest,
And where is the one I love best?
CHORUS:
I wonder what's become of Sally,
That old gal of mine.
The sun is missing from our alley,
Ever since the day Sally went away.
No matter what she is,
Where ever she may be,
If no one wants her now,
Please send her home to me.
I'll always welcome back my Sally,
That old gal of mine.
(first time repeat)
Laughing eyes like summer skies,
Her face was never sad.
Just a child, a little wild,
No one could say she was bad.
Just a jolly good fellow whose heart was right,
God bless her and keep her tonight.
(to CHORUS)
51414-L When I Was The Dandy And You Were The Belle
In a big rocking chair sat an old loving pair,
Watching the embers aglow.
And then she cuddled near as he whispered,
My dear, remember the days long ago.
CHORUS:
When I was the Dandy and you were the Belle,
We went out walking on Sunday.
I wore a tulip right in my lapel,
And you wore the bonnet with red roses on it.
Oh! How proud and happy I used to be.
To have the crowd see you out walking with me, my dear.
When I was the Dandy and you were the Belle,
In those dear old Sweetheart days.
Up here and up high as I recall,
Cheer up my dear, he said,
Let us smile at the change today.
When Grandma and Grandpa were young, sweetheart.
Conditions were different, they say.
A dozen fresh eggs cost a whole quarter.
But now chickens charge more to lay.
When they danced they danced so great.
The girls wore satin trimmed with lace.
And just the face was all they would display.
Now their face is like a map,
To know your partner is a task.
Unless you recognize the lingerie.
They’re dressing as they never dressed before.
The chorus girls wear clothes to fit a queen.
A girl of sixteen looks like fifty-four.
And if you should see Grandma out in the street,
She looks like sweet sixteen.
No wonder that we say,
Bring back those good old days.
(to CHORUS)
51422-R Little Brown Jug
Me and my wife lived all alone,
In a little log hut we called our own;
She loved gin and I loved rum,
I tell you what, we'd lots of fun!
REFRAIN:
Ha, ha, ha, you and me,
Little brown jug, don't I love thee!
Ha, ha, ha, you and me,
Little brown jug, don't I love thee!
Me and my wife and a stub-tailed dog,
Crossed the crick on a hickory log.
The log was wet and I fell in,
I lost my little brown jug right then.
(to REFRAIN)
I laid down in the shade of a tree,
Little brown jug in the shade of me.
I raised it up and give it a pull,
Little brown jug was about half full.
(to REFRAIN)
I had a cow that give such milk,
Dressed her up in the finest silk;
Give her all the choicest hay,
Milked her forty times a day.
(to REFRAIN)
I had a dog, he's a hound,
Always diggin' in the ground;
Every time I'd hide my jug,
That's just where that old hound dug.
(to REFRAIN)
My brown jug is a sight to see,
It means the world and all to me.
The reason I feel so grand,
Got the world in a jug, and the stopper in my hand.
(to REFRAIN)
My wife she's so long and lean,
Looks just like an old string bean.
To raise her arms, upon my soul,
It looks just like a telegraph pole.
(to REFRAIN)
The rose is red, my nose is too,
The violet's blue and so are you;
And yet, I guess, before I stop,
We'd better take another drop.
(to REFRAIN)
51422-L Arkansas Traveler
Gents to their places, like horses to the train.
Join hands and circle left.
Grand promenade.
Say, Lem, why don't you swing that gal?
Same old boy but a different girl.
Going to take a trip around the world.
Circle left and ladies do-si-ladies-do.
51428-R How Come You Do Me Like You Do?
'Way soon this mornin' I come rappin' at your door.
You kept me waitin' like you never did before.
That's a sure sign, brown skin, I'll never rap no more (no more).
How come you do me like you do, do, do,
How come you do me like you do?
Why do you try to make me feel so blue?
I ain't done nuthin' to you.
You might be the meanest man in town,
But I'm just mean enough to turn your damper down.
How come you do me like you do, do, do,
How come you do me like you do?
Don't I let you do just what I want you to?
Don't I let you cheer up when I feel blue?
And when it comes to huntin' jobs, I never shirk,
I can always find a job but you, ah, won't go to work!
Don't I always try to let you have my way?
But still you treat me mean and meaner every day.
You better treat me right or, ah, let me be.
'Cause I can beat you doin' what you're doin' to me.
Sat in your parlor looking dumb as a lamb,
But I wasn't too dumb to hear that back door slam.
How come you do me like you do, do, do, do,
How come you do me like you do?
Sat up 'till daybreak, couldn't even sleep a wink.
My mind was wand'rin', all I did was think and think.
The way you treated me would drive a gal to drink (to drink).
How come you do me like you do, do,
How come you do-do-do-do me like you do?
Why do you try to make me feel so blue?
I ain't done nuthin' to you.
I'll get a shovel before I'm done.
If you haven't got a home I'm gonna dig you one,
How come you do me like you do, do, do,
How come you do me like you do?
51428-L Hard-Hearted Hannah (The Vamp Of Savannah)
In old Savannah, I said Savannah,
The weather there is nice and warm!
The climate's of the Southern brand,
But here's what I don't understand:
They've got a gal there, a pretty gal there,
Who's colder than an Arctic storm,
Got a heart just like a stone,
Even ice men leave her alone!
They call her Hard-Hearted Hannah,
The vamp of Savannah,
The meanest gal in town;
Leather is tough, but Hannah's heart is tougher,
She's a gal who loves to see men suffer!
To tease 'em, and thrill 'em, to torture and kill 'em,
Is her delight, they say,
I saw her at the seashore with a great big pan,
There was Hannah pouring water on a drownin' man!
She's Hard-Hearted Hannah, the vamp of Savannah, GA!
To tease 'em, and thrill 'em, to torture and kill 'em,
Is her delight, they say,
If you sit on her lap you'll never do it twice.
Cause it's just the same as sittin' on a cake of ice.
She's Hard-Hearted Hannah, the vamp of Savannah, GA!
You ought to see her, Mm! You ought to see her,
Outside she's just as soft as silk, but socially she's hard as nails.
Just a gal who hates the males.
And when she's nasty, and when she's nasty,
She's about sweet as sour milk,
Nothin' she likes better than feedin' poisoned grub to a man.
They call her Hard Hearted Hannah,
The vamp of Savannah,
The meanest gal in town;
Talk of your cold, refrigeratin' mamas,
Brother, she's a polar bear's pajamas!
To tease 'em, and thrill 'em, to torture and kill 'em,
Is her delight, they say,
An evening spent with Hannah sittin' on your knees,
Is like travelin' through Alaska in your BVDs.
She's Hard Hearted Hannah, the vamp of Savannah, GA!
To tease 'em, and thrill 'em, to torture and kill 'em,
Is her delight, they say,
Why she's so cold you'd get pneumonia from her breath.
She kissed an Eskimo and he froze to death.
She's Hard Hearted Hannah, the vamp of Savannah, GA!
51430-R It Ain't Gonna Rain No Mo'
When Mr. Noah built the Ark,
He said it was his duty,
He saved the birds and beasts and bugs,
But why did he save the cootie.
REFRAIN:
Oh, it ain't gonna rain no mo', no mo',
It ain't gonna rain no mo',
But how in the world can the old folks tell,
It ain't gonna rain no mo'.
"The way I tell the twins apart,"
The proud father said,
"I put my finger in Willie's mouth,
If he bites it then he's Ed."
(to REFRAIN)
When boating never quarrel,
For you'll find without a doubt,
A boat is not the proper place,
To have a falling out.
(to REFRAIN)
"The chicken am a wonderful bird",
The colored preacher said,
"We eats them both befo' they're born,
And after they is dead!"
(to REFRAIN)
"The coffee is exhausted, Sir,"
the diner was advised,
"The tea has been so weak of late,
I'm really not surprised."
(to REFRAIN)
A boasting baby buffalo,
Said to a guinea pig,
"I'm bigger when I'm little,
Than you are when you are big."
(to REFRAIN)
He kissed his new gal on the cheek,
It seemed a harmless frolic,
But he's been laid up for a week,
He's had the painter's colic.
(to REFRAIN)
My pal's girl wears silk socks,
And my gal she wears cotton,
Now his girl has a limousine,
And my gal she's got nottin'.
(to REFRAIN)
Now I hope we're not misleading,
For we tried to make it plain,
That even though your skies are dark,
It ain't a'gonna rain.
Oh, it ain't gonna rain no mo', no mo',
It ain't gonna rain no mo',
But how in the heck can we wash our necks,
If it ain't gonna rain no mo'.
51430-L Ain't You Comin' Out To-Night?
I got a little gal, she's got a wooden leg, got a wooden leg, got a wooden leg.
I guess that's the reason that they call her Peg,
Tell me ain't you comin' out tonight?
I got a little gal that's dumber than a mule, dumber than a mule, dumber
than a mule.
She thinks Rex Beach is a place to keep cool,
Tell me ain't you comin' out tonight?
REFRAIN:
Ain't ya, ain't ya, ain't ya, ain't ya, comin' out tonight, comin' out tonight,
comin' out tonight?
Ain't ya, ain't ya, ain't ya, ain't ya, comin' out tonight,
To dance by the light of the moon?
I got a little gal that lives on the hill, lives on the hill, lives on the hill.
She's a moonshiner's gal but I love her still,
Tell me ain't you comin' out tonight?
I got a little gal that I tried to give a hint, tried to give a hint, tried
to give a hint,
But what she said would never do to print,
Tell me ain't you comin' out tonight?
(to REFRAIN)
My little gal and me we stood on the stoop, stood on the stoop, stood on the stoop.
Her dad came out and made me loop the loop,
Tell me ain't you comin' out tonight?
I got a little gal with freckles on her face, freckles on her face, freckles
on her face.
I asked her where she got them she said she's got 'em everyplace.
Tell me ain't you comin' out tonight?
(to REFRAIN)
I got a little gal that thinks I'm a king, thinks I'm a king, thinks I'm a king.
Said she'd like to crown me and everything,
Tell me ain't you comin' out tonight?
I got a little gal that's long and thin, and a wart on her chin, and her eyes turned in.
She's a darned good girl for the shape she's in,
Tell me ain't you comin' out tonight?
(to REFRAIN)
51459-R The Prisoner's Song
Oh! I wish I had someone to love me,
Someone to call me their own.
Oh! I wish I had someone to live with,
'cause I'm tired of living alone.
Oh! Please meet me tonight in the moonlight,
Please meet me tonight all alone.
For I have a sad story to tell you,
It's a story that's never been told.
I'll be carried to the new jail tomorrow,
Leaving my poor darling alone.
With the cold prison bars all around me,
And my head on a pillow of stone.
Now I have a grand ship on the ocean,
All mounted with silver and gold.
And before my poor darling would suffer,
Oh! That ship would be anchored and sold.
Now if I had wings like an angel,
Over these prison walls I would fly.
And I'd fly to the arms of my poor darlin',
And there I'd be willing to die.
51459-L Way Out West in Kansas
People don't stay up very late,
Way out west in Kansas.
They take the sidewalks in at eight,
Way out west in Kansas.
It's some town by heck I'll swear,
You can stand in the old town square
And knock on every front door there,
Way out west in Kansas.
I know a man that grew so tall,
Way out west in Kansas.
If he'd ever start to fall,
He'd be out of Kansas.
If he was straight, I still repeat,
He'd be as long as our main street,
But there's a lot turned out four feet,
Way out west in Kansas.
There's a man that loves his wife,
Way out west in Kansas.
They must live a peaceful life,
Way out west in Kansas.
There's a reason why each night,
They hold each other's hands so tight,
If one turns loose they start to fight,
Way out west in Kansas.
There's a gal in Abilene,
Way out west in Kansas.
Says she's just turned seventeen,
Way out west in Kansas.
But she's so old she's muscle bound,
The folks all say she built the town,
She's turned seventeen around,
Way out west in Kansas.
The sun's so hot that eggs will hatch,
Way out west in Kansas.
It pops the corn in a popcorn patch,
Way out west in Kansas.
An old mule coming down the path,
Saw the corn and lost his breath,
He thought it was snow and froze to death,
Way out west in Kansas.
There's a man named Cross-eyed Pat,
Way out west in Kansas.
You can't tell who he's looking at,
Way out west in Kansas.
He cries because he's such a wreck,
And the tears run down the back of his neck,
He don't look straight to me, by heck,
Way out west in Kansas.
51492-R Oh, Katharina!
Oh Heinie sailed from Rotterdam,
He stopped off first in Amsterdam,
To meet his bride, then side by side,
They took the ride.
Across the sea to Yankee land,
He furnished up a flat so grand.
And there she sat so big and fat,
Down at their flat.
One night he took his wifey out,
They went to see the follies.
He thought that she was such a queen,
Until he saw those dollies.
When they got home he shook his head,
Then to his wife he turned and said:
Ach, Katharina, Ach Katharina,
To keep my love you must be leaner.
There's so much of you three could love you.
Learn to swim, join a gym, eat farina!
Ach, Katharina, unless you're leaner,
I'll have to build a big arena.
You're such a crowd, my Katharin'.
I got a lot when I got you!
Ach, Katharina, Ach Katharina,
To keep my love you must be leaner.
Your face is six feet, that's from pig's feet,
Sauerkraut, cut it out, eat farina!
Ach, Katharina, dance und get leaner,
I like to jazz, my Katharina,
Then we could dance at bands, please!
I got a lot when I got you!
51492-L How I Love That Girl!
Feel my throat, feel my brow,
Come on Doc, just ask me now.
Look into my eyes and see,
Am I gone for sure?
I can't sleep, I can't think.
I can't eat, and I can't drink.
That's what love has done to me.
Is there any cure?
It's foolish, it's silly, it's sassy, down dilly,
How I love that girl!
It's hopeless, it's nutty, I'm softer than putty.
How I love that girl!
I don't stand a chance,
And she did it all with a glance.
I'm coo-coo, I'm loco, examine my cocoa.
How I love that girl!
Like lightnin' it hit me, like snake bite, it bit me,
How I love that girl!
It's awful terrific. Atlantic, Pacific,
How I love that girl!
If she says "Just true!"
Do I do that? I'll say I do!
I'm dazzled, I'm puzzled, I ought to be muzzled.
How I love that girl!
51506-R All Alone
Just like a melody that lingers on,
You seem to haunt me night and day.
I never realized till you were gone,
How much I cared about you, I can't live without you.
CHORUS:
All alone, I'm so all alone.
There is no one else but you.
All alone, by the telephone,
Waiting for a ring, a ting-a-ling.
I'm all alone every evening,
All alone feeling blue.
Wondering where you are, and how you are,
And if you are all alone too.
Just for a moment you were mine, and then
You seemed to vanish like a dream.
I long to hold you in my arms again,
My life is very lonely, for I want you only.
(to CHORUS)
51506-L Rose-Marie
Oh, Sweet Rose-Marie, it's easy to see,
Why all who learn to know you, love you.
You're gentle and kind, divinely designed,
As graceful as the pines above you.
There's an angel's breath beneath your sigh,
There's a little devil in your eye.
Oh, Rose-Marie, I love you!
I'm always dreaming of you.
No matter what I do, I can't forget you.
Sometimes I wish that I had never met you,
And yet, if I should lose you,
T'would mean my very life to me,
Of all the queens that ever lived I'd choose you,
To rule me, My Rose-Marie!
The song of the Spring is heard when you sing,
And when you laugh the birds seem thrilling.
But angry, oh my, you'd think that the sky,
With storms from the north is filling.
Then when smiles have chased away your frown,
Seems the sun has started shining down.
Oh, Rose-Marie, I love you!
I'm always dreaming of you.
No matter what I do, I can't forget you.
Sometimes I wish that I had never met you,
And yet, if I should lose you,
T'would mean my very life to me,
Of all the queens that ever lived I'd choose you,
To rule me, My Rose-Marie!
No matter what I do, I can't forget you;
Sometimes I wish that I had never met you!
Of all the queens that ever lived I'd choose you,
To rule me, My Rose-Marie.
51525-R You Gave All Your Kisses To Somebody Else
When you went away,
I told you someday,
You'd try for my sympathy.
I knew it would turn out,
That your flame would burn out,
And now you have come back to me.
REFRAIN:
You gave all your kisses to somebody else,
So why bring your tears to me?
You once broke your vow,
And never cared how,
Unhappy I would be.
You'll fool me again,
Just like you did then,
You'll fall for the next one you see.
You gave all your kisses to somebody else,
So why bring your tears to me?
How can I be sure,
Your love will endure,
I learned a lesson of pain.
You took all my sunshine,
Away with you one time.
I won't let you do it again.
(to REFRAIN)
51525-L The Heart Of A Girl
The angel of love,
Took the blue from above,
And set it with sunlight aglow.
A gleam from a star,
That was beaming afar,
And the song of the night, sweet and low.
The blush of a ruby, the tear from a pearl,
Blessed it and called it the heart of a girl.
REFRAIN:
The heart of a girl is just like a rose,
Each petal a thought sweet and true.
And there is a rose just blooming for you,
That's hiding somewhere in life's garden.
The heart of a girl is a wondrous thing,
More precious by far than the crown of a king.
And the world is a wonderful, wonderful world,
When the heart of a girl beats for you.
The first kiss of dawn,
When the darkness is gone,
Is sweet to the slumbering rose.
The moonbeam's caress,
Must bring happiness,
To each dear little brooklet that flows.
But kisses more precious than diamond or pearl,
Come from the heart of a wonderful girl.
(To REFRAIN)
51555-R Ukulele Lady
I saw the splendor of the moonlight,
On Honolulu Bay.
There's something tender in the moonlight,
On Honolulu Bay.
And all the beaches are full of peaches,
Who bring their ukes along,
And in the glimmer of the moonlight,
They love to sing this song:
If you like Ukulele Lady,
Ukulele Lady like a-you.
If you like to linger where it's shady,
Ukulele Lady linger too.
If you kiss Ukulele Lady,
While you promise ever to be true,
And she sees another Ukulele,
Lady foolin' 'round with you.
Maybe she'll sigh (an awful lot),
Maybe she'll cry (and maybe not).
Maybe she'll find somebody else,
Bye and bye,
To sing to when it's cool and shady,
Where the tricky Wicky Wackies woo.
If you like Ukulele Lady,
Ukulele Lady like a-you.
She used to sing to me by moonlight,
On Honolulu Bay.
Fond memory clings to me by moonlight,
Although I'm far away.
Some day I'm going, where eyes are glowing,
And lips are made to kiss.
And see somebody in the moonlight,
And hear the song I miss.
Ukulele lady don't know how to bake a cake,
Ukulele lady don't know how to make a steak.
In the moonlight every night she gives the boys a break,
When she plays upon a ukulele.
Say what Delilah did to Samson that is history.
And what Cleopatra did to poor Marc Antony
That's not one-two-three to what this baby did to me,
When she played upon a ukulele.
Now I was once a single man and nothing worried me.
Until I met this baby on the beach at Waikiki.
Now I've got a wife and twenty-seven kids to feed.
That's what a ukulele did to me.
To sing to when it's cool and shady,
Where the tricky Wicky Wackies woo.
If you like Ukulele Lady,
Ukulele Lady like a-you.
51555-L Don't Bring Lulu
Won't you attend a party
Down at my house tonight?
Is that an invitation,
Without a stipulation?
There's just one stipulation.
Hah, I thought I had you right!
I draw the line on just one woman.
Who can I invite?
You can bring Pearl, she's a darn nice girl,
But don't bring Lulu.
Can I bring Nan? Bet your life you can,
But don't bring Lulu.
Lulu has the kind of smile
That makes fellas walk a mile,
When she struts her stuff around,
London bridge is fallin' down,
If I bring cake and Porterhouse steak,
Can I bring Lulu?
Lulu gets blue and she goes cuckoo
Like the clock upon the shelf.
She's the kind of smartie
Who breaks up every party,
Hullabalooloo, don't bring Lulu,
I'll bring her myself!
We both went to a party,
A real high-toned affair,
And then along came Lulu,
As wild as any Zulu,
She started into Charleston,
And how the boys did stare,
But when she did the hula-hoo,
Then she got the air.
You can bring Peg with the wooden leg,
But don't bring Lulu.
Can I bring Vi with the old glass eye?
But don't bring Lulu!
Lulu eats just like a horse,
Sauerkraut and garlic salt.
I smelled onions on her breath,
And I cried myself to death.
Can I bring Ruth with the rubber tooth?
But don't bring Lulu.
Lulu's OK but when she gets gay
You should see the cops arrive.
When she starts in singing,
Police clubs start in swinging,
Hullabalooloo, don't bring Lulu,
Not while she's alive.
You can bring Flo 'cause her pa's got dough,
But don't bring Lulu.
You can bring Min and her double chin,
But don't bring Lulu.
Lulu thinks she's doing fine,
When she sings "Sweet Adeleine,"
Oh, but when she hits high C,
She drives out the family.
You can bring sweets and pickled pigs' feet,
But don't bring Lulu.
Lulu goes bugs and she chews up rugs
When she yells "Ain't this alive?"
She's the kind stops yawning,
We won't go home til morning,
Hullabalooloo, don't bring Lulu,
She might know the wives.
Ha ... Say Bill, I don't see why I can't bring Lulu. She's a nice girl. And say, Bill, would you call Lulu a flapper?
Sure, but I've got a new name for flappers.
What is it, Bill?
Well I call them "bungalows."
Bungalows? Why do you call 'em bungalows?
Well, because they're shingled in back, painted in front, and they have no attic.
Ha ...
You can bring Claire with her "I don't care,"
But don't bring Lulu.
You can bring Lil, she's an awful pill,
But don't bring Lulu.
Lulu has the sweetest smile,
Keeps us laughing all the while.
(When) she's looking at her best,
One eye looks east and the other looks west.
You can bring tripe, for I did it right,
But don't bring Lulu.
Lulu makes noise when she whips the boys,
And we're sure to get in dutch.
She's the kind that teases,
And then does what she pleases.
Hullabalooloo, don't bring Lulu,
She talks too darn much!
51580-R Collegiate
Yay, Collegiate! Rah! Rah!
Collegiate, collegiate, yes we are collegiate.
Nothing intermediate, no, Ma'am.
Trousers baggy, and our clothes look raggy,
But we're rough and ready ... yay!
Garters are the things we never wear,
And we haven't any use for red hot flannels.
Very, very seldom in a hurry,
Never ever worry, we're Collegiate, rah, rah, rah!
Alpha, Beta, Delta, Gamma, Theta,
Lambda Chi Omega. Phi Gam,
Lend me, gimme, want a half-a-dollar,
Wear an Arrow collar, Ohhhhh!
Sigma Kappa, tap-a-half-a keg,
That's the Greek for all the lodges we belong to.
Soccer, soaker, dealt a hand of poker,
Each and every smoker. We're collegiate, rah, rah, rah!
Bryn Mawr, Vassar, Chocolate frappé, wow!
These are all the colleges that we belong to.
Rah! Rah! Collegiate!
51582-R When They Ring The Golden Bells For You And Me
There's a land beyond the river, that we call the sweet forever,
And we only reach that shore by faith's decree;
One by one we'll gain the portals, there to dwell with the immortals,
When they ring the golden bells for you and me.
CHORUS:
Don't you hear the bells now ringing?
Don't you hear the angels singing?
'Tis the glory hallelujah Jubilee. (Jubilee)
In that far off sweet forever,
Just beyond the shining river,
Where they ring the golden bells for you and me. (last time: you and me)
We shall know no sin or sorrow, in that haven of tomorrow,
When our barque shall sail beyond the silver sea;
We shall only know the blessings of our Father's sweet caressings,
When they ring the golden bells for you and me.
(to CHORUS)
When our days shall know their number, when in death we sweetly slumber,
When the King commands the spirit to be free;
Nevermore with anguish laden, we shall reach that lovely Eden,
When they ring the golden bells for you and me.
(to CHORUS)
51582-L Are You Coming Home To-Night?
Are you coming home, ye wandr'ers,
Whom Jesus died to win,
All footsore, lame and weary,
Your garments stained with sin;
Will you seek the blood of Jesus
To wash your garments white;
Will you trust His precious promise,
Are you coming home tonight?
REFRAIN:
Are you coming home tonight,
Are you coming home tonight,
Are you coming home to Jesus,
Out of darkness into light?
Are you coming home tonight,
Are you coming home tonight,
To your loving, heav'nly Father,
Are you coming home tonight?
Are you coming home, ye lost ones?
Behold your Lord doth wait;
Come, then no longer linger,
Come ere it be too late;
Will you come and let Him save you,
O trust His love and might;
Will you come while He is calling,
Are you coming home tonight?
(to REFRAIN)
Are you coming home, ye guilty,
Who bear the load of sin;
Outside you've long been standing,
Come now and venture in;
Will you heed the Savior's promise,
And dare to trust Him quite;
"Come unto Me," saith Jesus,
Are you coming home tonight?
(to REFRAIN)
51609-R The John T. Scopes Trial
Oh the folks in Tennessee are as faithful as can be;
And they know the bible teaches what is right;
They believe in God above and his great undying love,
And they know they are protected by his might.
You may find a new belief; it will only bring you grief;
For a house that's built on sand is sure to fall;
And wherever you may turn there's a lesson you will learn,
That the old religion's better after all.
Then to Dayton came a man with his new ideas so grand;
And he said we came from monkeys long ago;
But in teaching his beliefs Mr. Scopes found only grief;
For they would not let their old religion go.
You may find a new belief; it will only bring you grief;
For a house that's built on sand is sure to fall;
And wherever you may turn there's a lesson you will learn;
That the old religion's better after all.
Then the folks throughout the land saw his house was built on sand;
And they said "We will not listen anymore;"
So they told him he was wrong and it was not very long;
Till he found that he was barred from every door.
Oh you must not doubt the word that is written by the Lord;
For if you do your house will surely fall;
And Mr. Scopes will learn that wherever he may turn;
The old religion's better after all.
You may find a new belief; it will only bring you grief;
For a house that's built on sand is sure to fall;
And wherever you may turn there's a lesson you will learn;
That the old religion's better after all.
51609-L The Death Of Floyd Collins
Oh, come all you good people and listen while I tell;
The fate of Floyd Collins, a lad we all knew well;
His face was fair and handsome, his heart was true and brave;
His body now lies sleeping in a lonely sandstone cave.
How sad, how sad the story, it fills our eyes with tears;
The memory, too, will linger for many, many years;
A broken-hearted father, who tried his boy to save;
Will now weep tears of sorrow at the door of Floyd's Cave.
"Oh mother don't you worry, dear father don't be sad;
I'll tell you all my troubles in an awful dream I had;
I dreamed that I was a prisoner, my life I could not save;
I cried, ‘Oh, must I perish within this silent cave.'"
The rescue party labored, they worked both night and day;
To move the mighty barrier that stood within the way.
To rescue Floyd Collins, this was their battle cry.
"We'll never, no, we'll never let Floyd Collins die."
But on that fatal morning the sun rose in the sky;
The workers still were busy, "We'll save him bye and bye."
But oh! How sad the ending, his life could not be saved;
His body then was sleeping in the lonely sandstone cave.
Young people oh! take warning from Floyd Collins' fate;
And get right with your Maker before it is too late.
It may not be a sand cave in which we find our tomb;
But at the bar of Judgment we too must meet our doom.
51614-R Oh Boy, What A Girl!
She's got that, she's got this,
Can she hug? Can she kiss?
Oh! Boy, what a girl!
Wants me here, wants me there,
Wants me near, everywhere!
Oh! Boy, what a girl!
Oh gee, other gals are far behind her,
Oh gosh, hope nobody else will find her!
Ain't so much what she knows,
When she loves, how she goes!
Oh! Boy, what a girl!
(whistling)
Oh! Boy, what a girl!
(whistling)
Oh! Boy, what a girl!
Oh me, she's the sweetest hotsy-totsy,
Oh my, I can see she knows a lotsy!
(whistling)
Oh! Boy, what a girl!
51633-R Freshie
Now there's a guy who doesn't know just who he is or why,
He's a dumb one, thinks he's someone but to me he's high.
He's a freshman, the lowly first year freshman,
But I pity liberty, for I could never see:
Why do they all pick on Freshie (poor Freshie)?
For he's a nut, nothing but, a slur to hang around him,
Why do they all pick on Freshie (dear Freshie)?
At every meal he's a corn, eats just the apple sauce.
They hate him, and bait him,
No matter what they do it doesn't faze him.
So why do they all call him Freshie (poor Freshie),
Because he ain't what he is, and isn't what he was!
Yaay!
51634-R Big Butter And Egg Man
Hello folks! My name is Phil Baker. They call me a bad boy from a good family. Fact of the matter is I'm a very good boy, I'm good to my folks, I very seldom go home. You know, last night I tried Mr. Edison's recipe of getting along on four hours sleep. And oh boy, not so good. I guess he sleeps twice as fast as I do, he sort of doubles up on his breathing and can get away with it. This thing I'm playing an accompaniment on is an accordion. Some people call it an Italian lavaliere, sort of a milestone around my neck. But it has its advantages, I'm always invited to parties. "Bring him along, he plays." You know the type. Last week I was invited out by a little girlfriend of mine, told her I couldn't go, I had a bad case of lumbago. She says "That's all right, bring that along, my folks drink anything." Very smart girl, if she was deaf she'd be deaf and dumb. Well I went up to her house, had a nice time. It was a lovely party, each guest brought his own liquor, I never drank so much water in my life. Met her folks, I liked her father, a nice man, very well red around the nose, knows everything, and her brother's a peculiar sort of a chap, when you first meet him you don't like him, after you get to know you hate him. Well anyway, I got inspiration for a song, I wrote it up, and I'm gonna sing it for you. See how you like it:
Little Broadway roses up and down Broadway,
With their powdered noses searching for some prey.
Happy little gold diggers smiling just because,
They have discovered a brand new Santa Claus.
They call him Big Butter and Egg Man from the West.
You can tell by the butter and eggs right on his vest.
At sixty-five he's a millionaire,
The answer to a gold digger's prayer.
How he goes for jewels and clothes,
The girls take him like Grant took Richmond.
He's patriotic with the skirts,
'Cause he gives and he gives and gives until it hurts!
Takes the girls out to dinner but everyone,
Has galloping consumption, they eat and run,
From the Big Butter and Egg Man from the West.
They call him Big Butter and Egg Man from the West,
Just a great big chump like all the rest.
What he makes on the chickens that lay in the hay,
He spends on the chickens on the Gay White Way,
How he goes for jewels and clothes,
The girls take him like bread takes gravy.
Oh, how those bimbos lead him on,
At home his name is Bill but here it's John.
He took a girl out riding in his Cadillac,
I met him near Jamaica he was walking back.
That Big Butter and Egg Man from the West.
51634-L Ann And Her Little Sedan
Hello folks, this is a cute little song about a cute little girl by the name of Ann, who got so tired going out automobile walking that she bought a car, and now her boyfriends do the walking, except that Ann is more considerate, she furnishes them with roller skates. In the winter, ice skates. Ann used to be a school teacher, but she had no principles. I once asked her what she thought of the aurora borealis, and she said, "That's a good car too." Ann believes in the old adage: "You can reach a man's heart through his stomach," and believe me she's some cook. She has a favorite recipe I'd like you to try sometime. You take a half a loaf of fresh-baked bread, soak it in luke-warm water for an hour and a half until it gets good and sodgy, er soggy. Then you sprinkle a lot of salt and pepper and winegar, heh, winegar, I pronounce all my wees with a wouble-u, salt and pepper and winegar all over the bread, cover the surface with asparagus tips, add some garlic then put it in the oven to bake until it's nice and brown. It's delicious! After it's well baked, you take it out, throw it out of the window, and open a can of salmon.
Talk about your lady drivers,
I met one up town,
Someone give her a brand-new flivver,
And you can't hold her down.
It's Christian name is Henry,
But she calls it her sedan,
Doggone thing's rattles,
Like an old tomato can.
Oh, you ought to see Ann,
In her little sedan,
She has a smile so sweet,
For every cop she'd meet.
But you can't understand,
When she holds out her hand,
Her turns make people die of fright,
She sticks out her left, and turns to the right,
No man from here to Japan,
Can do the things with a flivver like she can.
They crowned her queen of pleasure makers,
Making jobs for undertakers,
Ann, in her little sedan.
You ought to see Ann,
In her little sedan,
She likes to come up near,
And bump you in the rear,
With a wheel in her hand,
She's an awful brigand,
Oh those who ride in any sport,
With their feet in the car and their trust in the Lord.
One night she went riding with Dan,
She hit a tree and then the fun began.
Who did they find up in the treesies,
Hanging by her X-Y-Z-z's?
Ann, but you ought to see Dan!
Amen!
51640-R Croon A Little Lullaby
When I'm lonely, feeling blue.
Those fleeting memories stray to olden bygone days (bygone days).
So dear, as night is drawing near,
There's just one song of all the rest I long now to hear:
Just croon a little lullaby,
A dreamy melody that brings a memory,
Of childhood days when 'neath the southern sky,
My mammy sang to me and held me tenderly.
When I am blue and lonesome too,
Alone I'd croon I'd love to have you.
Just kiss each little sleepy eye
And like a mammy croon a little lullaby.
Dreams bring tender memories
Of olden days I yearn, that never can return (can return).
It seems the silver moonlight beams
Are whispering they'd love to hear you sing, in my dreams:
Just croon a little lullaby, (little lullaby)
A dreamy melody that brings a memory, (a memory)
Of childhood days when 'neath the southern sky,
My mammy sang to me and held me tenderly.
When I am blue and lonesome too,
Alone I'd croon I'd love to have you.
Just kiss each little sleepy eye, (each sleepy eye)
And like a mammy croon a little lullaby.
51640-L I'm Sitting On Top Of The World
Don't want any millions, I'm getting my share.
I've only got one suit, that's all I can wear.
A bundle of money won't make you feel gay.
A sweet little honey is making me say:
CHORUS:
"I'm sitting on top of the world,
Just rolling along, just rolling along.
I'm quitting the blues of the world,
Just singing a song, just singing a song.
Glory Hallelujah, I just phoned the parson, 'Hey, Pars, get ready to call.'
Just like Humpty Dumpty, I'm going to fall.
I'm sitting on top of the world,
Just rolling along, just rolling along."
(2nd time to FINAL CHORUS)
Some people have diamonds and beautiful pearls,
While others have children, just kiddies with curls.
Keep all of your fortunes, keep all of your fame,
I just found a sweetie who's changing her name.
(to CHORUS)
FINAL CHORUS:
"I'm sitting on top of the world, (sit on top of the world)
Just rolling along, (just rolling along) just rolling along. (I hear those wedding bells chime)
I'm quitting (here comes the bride) the blues of the world, (quit the blues of the world)
Just singing a song, (just singing a song,) just singing a song.
Glory hallelujah, I just phoned the parson, 'Hey, Pars, get ready to call.'
Just like humpty dumpty, I'm going to fall.
I'm sitting on top of the world,
Just rolling along, just rolling along.
Just rolling along."
51644-R Old MacDonald Had A Farm
Old MacDonald had a farm
Ee i ee i o
And on this farm he had some chicks
Ee i ee i oh
With a chick-chick here
And a chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had some ducks
Ee i ee i o
With a quack-quack here
And a quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had some turkeys
Ee i ee i o
With a gobble-gobble here
And a gobble-gobble there
Here a gobble, there a gobble
Everywhere a gobble-gobble
Quack-quack here
Quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had some hogs
Ee i ee i o
With a honk-honk here
And a honk-honk there
Here a honk, there a honk
Everywhere a honk-honk
Gobble-gobble here
Gobble-gobble there
Here a gobble, there a gobble
Everywhere a gobble-gobble
Quack-quack here
Quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had a boy
Ee i ee i o
With a rattle-rattle here
And a rattle-rattle there
Here a rattle, there a rattle
Everywhere a rattle-rattle
Honk-honk here
Honk-honk there
Here a honk, there a honk
Everywhere a honk-honk
Gobble-gobble here
Gobble-gobble there
Here a gobble, there a gobble
Everywhere a gobble-gobble
Quack-quack here
Quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had a still
Ee i ee i o
With a drip-drip here
And a drip-drip there
Here a drip, there a drip
Everywhere a drip-drip
Rattle-rattle here
Rattle-rattle there
Here a rattle, there a rattle
Everywhere a rattle-rattle
Honk-honk here
Honk-honk there
Here a honk, there a honk
Everywhere a honk-honk
Gobble-gobble here
Gobble-gobble there
Here a gobble, there a gobble
Everywhere a gobble-gobble
Quack-quack here
Quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
Old MacDonald had a farm
Ee i ee i o
And on this farm he had a wife
Ee i ee i o
With a gimme-gimme here
And a gimme-gimme there
Here a gimme, there a gimme
Everywhere a gimme-gimme
Drip-drip here
Drip-drip there
Here a drip, there a drip
Everywhere a drip-drip
Rattle-rattle here
Rattle-rattle there
Here a rattle, there a rattle
Everywhere a rattle-rattle
Honk-honk here
Honk-honk there
Here a honk, there a honk
Everywhere a honk-honk
Gobble-gobble here
Gobble-gobble there
Here a gobble, there a gobble
Everywhere a gobble-gobble
Quack-quack here
Quack-quack there
Here a quack, there a quack
Everywhere a quack-quack
A chick-chick here
A chick-chick there
Here a chick, there a chick
Everywhere a chick-chick
Old MacDonald had a farm
Ee i ee i o
51644-L Haul De Woodpile Down
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
De red cow brushing de old blue fly
Away down in Florida
De white man laugh when de coon go by
Gonna haul de wood-pile down
De steamboat ready to burn dat pine
Away down in Florida
De grape am ripe on de old black vine
Gonna haul de wood-pile down
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
De muskrat hide in de old black log
Away down in Florida
De chipmunk laugh at de old house dog
Gonna haul de wood-pile down
Captain Jim of de old Bob Lee
Away down in Florida
He drinks more rum den he does hot tea
Gonna haul de wood-pile down
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
De old roof leaks and de rain drops thro'
Away down in Florida
De coon done die if he touch hoodoo
Gonna haul de wood-pile down
When I grow weary den I lay down
Away down in Florida
De wench looks sweet in a new clean gown
Gonna haul de wood-pile down
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
Now I’ve gotta gal who’s just about
Away down in Florida
Now what’s going under in the back porch cot?
Gonna haul de wood-pile down.
She goes to church and takes advice,
Away down in Florida
...
Gonna haul de wood-pile down.
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
Old Black Joe caught a frog one day,
Away down in Florida
Pick up your pants for it’s going to pay,
Gonna haul de wood-pile down.
Never heard such music before,
Away down in Florida
Single to...
Gonna haul de wood-pile down.
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
I can’t wait to get the pop
Away down in Florida
Make sure it goes pippitty-pop
Gonna haul de wood-pile down.
Mandy looks at her ginger hair,
Away down in Florida
The old...
Gonna haul de wood-pile down.
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
Madeline, oh Madeline, as sure as the moon am round,
Right down by on the dock tonight,
Gonna haul de wood-pile down.
51653-R I Wonder Where My Baby Is To-Night
What’s wrong with you, old Chappie, you don’t seem very happy.
Somebody stole my gal away.
She isn’t worth a worry, forget her in a hurry.
She’s on my mind both night and day.
I’m aware you’ll pass from her somehow,
I know you’re even thinking of her now.
CHORUS:
I wonder where my baby is tonight?
I wonder how my baby is tonight?
I wonder where she's gone and how she's getting on,
I wonder why my baby doesn't write?
If she came back I wonder what I'd do?
I wonder did she find somebody new?
She didn't treat me fair and though I shouldn't care,
I wonder where my baby is tonight?
I know she said "forget me," and so I wish she'd let me,
Why does she haunt me night and day?
Each day I make my mind up, but in the end I wind up,
Just wondering why she went away?
How I've tried to love somebody new,
But each one's just someone to say this to:
(to CHORUS):
I wonder does my baby do the Charleston, Charleston?
I wonder who is teaching her the Charleston. Charleston?
While I sit and sigh the time goes draggin' by,
I'd like to kill the guy who wrote the Charleston, Charleston.
We parted 'cause I couldn't do the Charleston, Charleston,
She'd still be here if I could do the Charleston, Charleston.
I'm taking lessons now, I'll win her back somehow,
I wonder where my baby is tonight.
51653-L I Never Knew
Maybe where the clouds befall all about you,
Maybe there are silver moonbeams too.
Not until I saw them all around you,
I was blind because I never knew.
REFRAIN:
I never knew that roses grew,
That the skies were blue or grey.
I never knew, when breezes blew,
What a summer breeze could say.
I never knew that dreams came true,
And took your cares away.
I never knew what wrong could do,
Until I met you today.
How my lips have prayed, my eyes have told you,
Still my lips would stay there on and on.
All my life I’m longing, Dear, to hold you,
Every single day I’ll say once more.
(to REFRAIN):
51661-R Clap Hands! Here Comes Charley!
Clap hands! Here comes Charley!
Clap hands! Good time Charley!
Clap hands! Here comes Charley now! (Yoo-hoo, Charlie)
This way, join the party,
I say, meet McCarty!
Hey, hey, Charley, take a bow!
Ginger ale, white rocks, this table, Yay!
Grab a chair, move over there,
And let him sit right next to Mabel.
Clap hands! Here comes Charley!
Clap hands! Good time Charley!
Clap hands! Here comes Charley now!
... Here comes Charley!
... Good time Charley!
... Here comes Charley now!
This way, meet the dollies,
I say, Ziegfeld Follies,
Hey, hey, Charley, meet the frau! Heh!
See the smile on all those hungry faces?
Why they can tell that he's a buyer,
From the wide and open spaces!
... Here comes Charley!
... Good time Charley!
... Here comes Charley now!
51661-L Five Foot Two, Eyes Of Blue
Five foot two, eyes of blue,
But oh! what those five foot could do,
Has anybody seen my girl?
Turned up nose, turned down hose,
Flapper? Yes, sir. One of those!
Has anybody seen my girl?
Now if you run into a five foot two covered with fur,
Diamond rings, and all those things, bet your life it isn't her,
But could she love, could she woo,
Could she, could she kootchie-coo!
Has anybody seen my girl?
51674-R In Your Green Hat
Where did you get that hat?
Tell me pretty face!
Why, but isn’t it becoming
and such a lovely shade.
Say, I’ve got to tell you that,
You’re a vintage green.
And if I’m not too familiar,
By that I simply mean:
In your green hat you’re beautiful.
You’re the best dressed gal in town.
In your green hat you’re wonderful!
From your sequined dots all the way down.
You’re like a fashion show from head to toe.
Say! What a figure, what a face, what a chapeau.
With your green hat you’re simply marvelous,
In your hat!
51704-R In My Gondola
Tonio was a dashing Romeo,
Oh, oh, oh, oh! Oh, oh, oh, oh!
All dressed up in his best mustachio,
Oh, oh, oh, oh! Oh, oh, oh, oh!
Each night he'd go a-calling upon a certain maid,
And all night long, he would sing this serenade:
Oh, oh, oh, oh! Oh, oh, oh, oh!
Oh, oh, oh, oh! Oh, oh, oh, oh!
In my gondola, in my gondola,
Sweet Raviola, we'll take a ride.
Beneath the moon-a, we'll sit and spoon-a;
To you I'll croon-a my love inside.
And while I'm strumming on my sweet guitar,
I know that everything will be Funicula.
If you say, "no"-la, sweet Raviola,
You'll have to stroll-a from my gondola.
Tonio used to sing his tale of woe,
Oh, oh, oh, oh! Oh, oh, oh, oh!
Till he ruined his do-re-mi-fa-so,
Oh, oh, oh, oh! Oh, oh, oh, oh!
But his sweet Raviola would never venture out,
So all night long, all the neighbors hear him shout.
Oh, oh, oh, oh! Oh, oh, oh, oh!
Oh, oh, oh, oh! Oh, oh, oh, oh!
In my gondola, in my gondola,
Sweet Raviola, we'll take a ride.
Beneath the moon-a, we'll sit and spoon-a;
To you I'll croon-a my love inside.
And while I'm strumming on my sweet guitar,
I know that everything will be Funicula.
If you say, "no"-la, sweet Raviola,
You'll have to stroll-a from my gondola.
I feel so oh, oh, oh! Oh, oh, oh!
We'll bill and coo and I'll tell you how much I long-e-o.
I'll eat garlic and very quick my love 'tis strong-e-o,
Ha, ha, ha, ha! Ha-ha, ha, ha, ha!
But if you break your promise,
Then I'll sing to you la-la.
In my gondola, in my gondola,
Sweet Raviola, we'll sail away.
I'll bring bologna and macaron-a,
For you, my own-a, to eat all day.
I feel so sad if you no like-a me,
And when I'm sad, ho-ho, I'm mad as I can be.
I lose control-a, sweet Raviola,
And punch a hole-a in my gondola. Ha-ha!
51704-L Wimmin Aaah!
Hello Bill. How are ya?
Hello Ernie. How are you?
Say listen Bill. I just bought a new dog.
What kind of a dog is he, Ernie?
Well he's two kinds of dog, Bill. He's part collie and part bull.
And you know one thing, Bill, I paid five hundred dollars for him.
Gosh, he must be some dog. Heh-heh! I know the part that was bull, Ernie.
Well, you're so smart, which part is bull?
The part about paying five hundred dollars for it.
Hah ...! You know one thing? Sometimes I think you're crazy.
And do you know that they should have you in a padded cell?
Why you must think I'm crazy. Yeah!
Not me! Not me!
Well, what makes you look that way?
I really couldn't tell.
Then I'm gonna solve the mystery.
I wish I knew what this was all about.
Well, I'll ask you just one question and find out.
All right, ask it.
Was it wimmin? Aaah!
Wimmin? Aaah!
Now I found out the cause of your despair.
It was wimmin. Aaah!
Yes, wimmin. Aaah!
Pardon me, I'll have to tear my hair, there!
D'ya ever cut out paper dollies in your little bed,
No, never, and my mother never let me fall on my head.
Well it wasn't liquor? No!
Nor money? No!
But wimmin, wimmin, wimmin, wimmin. Aaah!
You know, since I look at you I still think that you're crazy.
Listen, Ernie, I want to tell you something.
What?
If I'm crazy and you catch me doing it, that's all I hope.
Hah ...! See there, what did I tell ya?
You know, I can see that good advice won't do you any good.
I'm beyond that point I must confess.
Yes, yes, and you're a man who's been misled, you're never understood.
And there's not much hope for me, I guess.
Still there's one thing we should all hold dear.
Tell me what it is, I'd like to hear.
It was wimmin. Aaah!
Wimmin. Aaah!
Boy they've surely put you on the bum.
Those wimmin. Aaah!
Wimmin. Aaah!
They've got me so, can't even grab my thumb.
Was your brain perfect when you came out of the school?
What's more I don't remember bein' kicked by a mule;
It wasn't jazz bands? No!
Nor night clubs? No!
But wimmin, wimmin, wimmin, wimmin, Aaah!
Wimmin! Aaah!
Wimmin! Aaah!
From these dizzy creatures I must hide.
Wimmin! Aaah!
Wimmin! Aaah!
Look at me, I hope they're satisfied.
And there was a time when you were happy and free.
But now you see I'm like a cuckoo up in a tree.
It wasn't Charleston? No!
Nor income tax? No!
But wimmin, wimmin, wimmin, wimmin, Aaah!
51738-R Valencia
Valencia,
In my dreams it always seems,
I hear you softly call to me.
Valencia,
Where the orange trees forever,
Scent the breeze beside the sea.
Valencia,
In my arms I held your charms,
Beneath the blossoms high above.
You love me,
In Valencia long ago,
We found our paradise of love.
51758-R Bye Bye Blackbird
CHORUS:
Pack up all my care and woe, here I go singing low,
Bye bye, blackbird.
Where somebody waits for me, sugar's sweet, and so is she,
Bye bye, blackbird. (bye bye, blackbird)
No one here can love and understand me,
Oh, what hard luck stories they all hand me.
Make my bed and light the light, I'll arrive late tonight,
Blackbird, Bye bye.
(last time to FINAL CHORUS)
Blackbird, blackbird, singing the blues all day, (go singing)
Right outside of my door.
Blackbird, blackbird, why do you sit and say, (you say that)
There's no sunshine in store.
All through the winter you hung around,
Now I begin to feel homeward bound.
Blackbird, blackbird, gotta be on my way (I'm going)
Where there's sunshine galore.
(to CHORUS)
Oh, Bluebird, bluebird, calling me far away,
I've been looking for you.
Bluebird, bluebird, what do I hear you say,
Skies are turning to blue.
Bluebird, bluebird, this is my lucky day (my day)
Now my dreams will come true.
(to CHORUS)
FINAL CHORUS:
Pack up all my care and woe, here I go singing low,
Bye bye, bye bye, blackbird.
Where somebody waits for me, sugar's sweet, so is she,
Bye bye, blackbird.
No one here can love and understand me,
Oh, what hard luck stories they all hand me.
Make my bed and light the light, I'll arrive late tonight,
Blackbird, Bye bye, bye bye, bye bye.
51758-L Honey Bunch
Ah...
Honeybunch, you know how much I love you,
Honeybunch, I'm always thinking of you.
For every time you smile at me,
You're just as sweet as you can be.
When I touch your ruby lips, your kisses
Thrill me through and through, (they thrill me through)
You're the sweetest in the land.
When I hold your hand it's grand, and
Honeybunch, I've got a hunch you love me too, too.
Just see, "hon" what you've done sweetest one, 'neath the sun,
You stole, you stole into my heart.
I can't eat, I can't sleep, you're so sweet, can't be beat.
You won, you won me from the start. (you won me from the start)
And I bless the day you came my way.
Honeybunch, you know how much I love you,
Honeybunch, I'm always thinking of you.
For every time you smile at me,
You're just as sweet as you can be.
When I touch your ruby lips, your kisses
Thrill me through and through, (they thrill me through)
You're the sweetest in the land.
When I hold your hand it's grand, and
Honeybunch, I've got a hunch you love me too.
Honeybunch, I'm crazy about you, (crazy about you)
Honeybunch, I'm thinking about you. (thinking about you)
For every time you smile at me,
You're just as sweet as you can be.
When we touch your kisses,
Thrill me through and through, (they thrill me through)
You're the sweetest in the land.
When I hold your hand it's grand,
And I've got a hunch you love me too.
Gosh oh gee, goodness me, honey bee, can't you see,
You thrill, you thrill me with your charms.
I feel great, just can't wait, till the date you're my mate.
So cuddle, cuddle in my arms. (so cuddle in my arms)
And before you go, dear, you must know:
Honeybunch, you know how much I love you,
Honeybunch, I'm always thinking of you.
When I touch your ruby lips, your kisses
Thrill me through and through,
For you're the sweetest in the land.
When I hold your little hand it's grand,
Honeybunch, I've got a hunch you love me too, too, too, too,
I've got a hunch you love me too.
51791-R When You Find A Girl Who Loves You
When you find a little girl who loves you,
When you find a little girl who's true,
Life will have a different kind of meaning,
All care and troubles fade way like a bubble.
Clouds give way to haunting silvery moonlight,
All the hidden stars appear and as through the twilight,
Wedding bells will soon ring out their gladness,
When you find some sweet girl who loves you.
51806-R Mary Lou
Mary Lou, Mary Lou,
Cross my heart, I love you.
Every bell in the steeple is ready to ring,
And all the people are planning pretty presents,
All for you. Mary Lou,
Won't you give me your promise for?
Why for miles around they're waiting,
To start their celebrating,
When you say "I do",
Mary Lou.
51806-L Oh! If I Only Had You
Oh, what big eyes you have,
Oh, what sweet lips you have,
Oh, if I only had you.
Oh, what nice things you’d have.
Oh, what nice days we’d have,
Oh, if I only had you.
And so I hope and believe I’d be,
Oh, how’d pleased I’d be
If the day should come true, you,
Oh, what big eyes you have,
Oh, what a time I’d have,
Oh, if I only had you.
51810-R On The Riviera
Promenading on the Riviera!
Comarading on the Riviera!
You’ll find them there, sweet maidens fair.
So chic-ie and spic; never a care!
Salutations on the Riviera!
Every nation’s on the Riviera!
Where they all play, turning the night into day;
Say! On the Riviera by the sea!
51810-L And Then I Forget
I must have your attention come on now gather near.
I hope that you won’t mention a single thing you hear.
I know you won’t believe it, what I’m about to say.
But still here goes, for goodness knows, it happened all this way.
We took a little walk, we had a little talk.
And then (well?) well, I forget!
I kissed her where she stood, and promised to be good.
And well, (well?) well I forget!
Oh let me see. Did I?
I wonder if I did?
Well, really if I didn’t,
Perhaps I should have did.
The moon was shining bright.
It was a lovely night.
But then (well?) Gosh! I forget!
I’m true as I can be. My girlfriend’s hold on me.
And then (well) well, I forget!
She looks into my eyes, and lies, and lies.
Then (well) well, I forget!
And when she starts to kiss and say, “How can I resist?”
She tells me I’m the first boy that she has ever kissed!
The clock is striking four, and the milkman’s at the door!
And then (well?) Gosh! I forget!
51819-R It's Breaking My Heart To Keep Away From You
Confessions are good for the soul, they say,
Here's one that's true, I vow:
I never knew how I'd miss you,
That's just why I'm telling you now.
It's breaking my heart to keep away from you,
It's making me lonesome and blue.
I used to laugh at your photograph,
But now I am crying for you.
I now realize what a fool I have been,
But I've got myself to blame.
It's breaking my heart to keep away from you,
Gee, I wish we were pals again.
I used to laugh at your photograph,
But now I am crying for you.
It's breaking my heart to keep away from you,
Gee, I wish we were pals again.
It's off with the old love and on with new,
That's an old saying, too.
Somehow I find it's not the same,
The old love is love that is true.
It's breaking my heart to keep away from you,
It's making me lonesome and blue.
I used to laugh at your photograph,
But now I am crying for you.
I now realize what a fool I have been,
But I've got myself to blame.
It's breaking my heart to keep away from you,
Gee, I wish we were pals again.
51819-L If I Can't Have You
The night and the moon are for lovers to spoon,
But it doesn't mean much to me.
The stars up above are for lovers to love,
But never were meant for me.
What good is the moon or a bright night in June,
If I can't have you?
What good are the trees or the birds and the bees,
If I can't have you?
What good are my arms if they can't hold your charms,
I'll always be sad and blue.
What good is my heart? I'll just tear it apart,
If I can't have you.
The love tales of old are the sweetest that's told,
Somehow they don't mean much to me.
Each girlie and boy all have their share of joy,
But I just get sympathy.
What good is the moon or a bright night in June,
If I can't have you?
What good are the trees or the birds and the bees,
If I can't have you?
What good are my arms if they can't hold your charms,
I'll always be sad and blue.
What good is my heart? I'll just tear it apart,
If I can't have you.
If I can't have you.
If I can't have you.
What good are my arms if they can't hold your charms,
I'll always be sad and blue.
What good is my heart? I'll just tear it apart,
If I can't have you.
51823-R Sinking Of The Titanic
It was on Monday morning just about one o’clock,
That the great Titanic begin to reel and rock.
Then the people began to cry, saying, “Lord I’m a-going to die.”
It was sad when that great ship went down.
CHORUS:
It was sad when that great ship went down,
It was sad when that great ship went down,
There were husbands and wives, little children lost their lives.
It was sad when that great ship went down.
When they were building the Titanic, they said what they could do.
They were going to build a ship that no water could not go through,
But God with his mighty hand showed to the world it could not stand.
It was sad when that great ship went down.
(to CHORUS)
When they left England, they were making for the shore.
The rich they declared they would not ride with the poor.
So they sent the poor below, they were the first that had to go.
It was sad when that great ship went down.
(to CHORUS)
When forward all were sailing, with men all around.
God in heaven on his throne said, “That man should not drown.”
If you trust him and obey, he will save you all today.
It was sad when that great ship went down.
(to CHORUS)
The people on the ship were a long ways from home,
With friends all around them, didn’t know their time had come,
For the death came riding by, sixteen hundred had to die.
It was sad when that great ship went down.
(to CHORUS)
When the five pennies was sinking, the deep her people free.
It was there they were singing “Nearer MY God To Thee”,
Nearer my God to thee,
When that great ship went down.
51823-L Wreck Of The C. & O.
Along come the FFV, the fastest on the line,
Running on the C and O Road, twenty minutes behind time.
When she run into old Sewall, and quartered on the line,
Waiting to his engine’s order, let him be on time,
When at Hinton she met her stop, the engineer was there.
George Alley was his name, with curly golden hair.
And his fireman, Jack Dickerson, was standing by his side,
Waiting to receive his orders, and in the cab to ride.
George’s mama came to him with a bucket on her arm.
"Pray to God you’re not harmed, be careful how you run.
Many a man has lost his life to make up lost time,
If you run your engine right, you’ll get there just in time.”
Dear mama, your response is good, to it I will take heed.
But my engine seems all right and I know each single speed.
O’er this road I mean to fly, with speed unknown to all,
When I blow at Big Fat Holler, you’ll surely hear my call.
Said George to his fireman, “A rock ahead I see,
I tell you death is waiting there, to snatch both you and me.
From this cab you now must fly, your darling life to save,
I want you to be an engineer, while I’m sleeping in my grave.”
“Oh no, George, I cannot go, I want to die with you”
“No, no Jack, that will not do; I’ll die for me and you.”
From this cab Jack did fly, New River it was high,
And as he stroked the water, poor Number 4 flew by.
Up the road she darted, upon the rock she crashed.
Upside down his engine turned, the coaches coming last.
His head was on the firebox stove, while burning flames rolled o’er.
“I’m glad I was born an engineer, to die on the C and O.”
His people to the engine run to see the engineer.
Then George’s head got rescued then you’ll surely fondly hear.
There never was a braver man, than Georgie Allen born.
To die upon a steam boiler, connected to our Lord.
The doctor said, “Now George, my darling boy, be still.
Your precious life may yet be saved, if it is God’s blessed will”
“Oh no, dear doctor, I want to die so free,
I want to die with my engine, one hundred and forty-three.”
51835-L That Night In Araby
I'm dreaming of that night of love with you in Araby.
I thrilled with wild delight a thousand times that night.
In flaming skies, your pair of eyes just made a flame of me.
I'd give up all could I recall that night in Araby.
51877-R Fire!
Fire! Fire!
Fire! Fire!
I'm burning up, I'm burning up,
Fire! Fire! Fire! Fire! Fire! Fire!
Just learned the truth of flaming youth,
Fire! Fire! Fire! Fire! Turn the hose on me.
Out in the park, just after dark,
She leaned against my shoulder, my poor heart began to smolder.
I'm all aflame, and she's to blame.
Fire! Fire! Fire! Fire! Turn the hose on me.
Fire! Fire!
Fire! Fire!
Fire! Fire!
I'm burning up, I'm burning up,
Fire! Fire! Fire! Fire! Fire! Fire!
Oh, what a kiss! Oh, what a bliss!
Fire! Fire! Fire! Fire! Turn the hose on me.
Why speak of love? Pardon my glove!
An old asbestos curtain, they'd get hot but they'd be certain.
Extinguish her, extinguish me,
Fire! Fire! Fire! Fire! Turn the hose on me.
51877-L Cows!
Once a farmer shot a crow it fell upon his head,
When the doctor brought him to he looked around and said;
"It's a good thing cows don't fly; it's a good thing cows don't fly.
The world is full of so much fool; it's a good thing cows don't fly."
Now we don't have the milkman call upon us anymore.
He just sends his cow around, we milk her at the door.
"It's a good thing cows don't fly; it's a good thing cows don't fly.
The world is full of so much fool; it's a good thing cows don't fly."
Now once a ship was sinking and the people made a fuss,
Levi said don't worry cause this don't belong to us.
"It's a good thing cows don't fly; it's a good thing cows don't fly.
The world is full of so much fool; it's a good thing cows don't fly."
51891-R The Big Bass Viol
There once lived a man in the town of Missoula,
Whose name was Augustus Miles.
He was known all around as a Lalapalousa,
At playing the big bass viol;
And every night when his work was done,
You'd hear him playing zum, zum, zum,
While o'er his face there came a smile,
As he played this tune on his big bass viol:
Zum, zum, zum, zum, zum, zum,
Sounds forth his big bass viol,
Zum, zum, zum, zum, zum, zum,
He played it all the while,
There is ne'er a lute nor harp nor flute,
With tones so soft and mild,
As the zum, zum, zum, zum, zum, zum,
That he played on his big bass viol,
That he played on his big bass viol,
That he played on his big bass viol.
51891-L Any Old Port in a Storm
Out on the billows the good ship tossed,
But a brave little craft was she.
While the thunder roared and the torrents poured,
In the pit of an angry sea;
The captain stood on the surf swept deck,
He looked o'er the seething foam,
He murmered "We're far from the harbor bar,
And far from the lights of home."
But e'en as he gazed, he cried,
"There's land on the starboard side,
Ship ahoy! Ship ahoy!"
Any old port in a storm lads,
Whatever that port may be,
And thanks be given our Father in Heav'n,
Who watches o'er you and me,
Tho' we're far, far away from the land we seek,
Where the heart of true love beats warm;
For the shelter there, is a haven fair;
Any old port in a storm,
Any old port in a storm.
51914-R To-Night You Belong To Me
Once more we meet, you look so sweet,
Dear, can't you see how I feel?
I love you still, I always will,
You have the same old appeal.
Though you belong to somebody else,
To-night you belong to me.
Though we're apart, you're part of my heart,
To-night you belong to me.
Down by the stream, how sweet it will seem,
Once more to dream in the moonlight,
Though with the dawn I know you'll be gone.
To-night you belong to me.
Out of my arms, still in my heart,
You're always near me it seems.
Don't let your pride hide what's inside,
Don't close the door on your dreams.
Though you belong to somebody else,
To-night you belong to me.
Though we're apart, you're part of my heart,
To-night you belong to me.
Down by the stream, how sweet it will seem,
Once more to dream in the moonlight,
Though with the dawn I know you'll be gone.
To-night you belong to me.
Down by the stream, how sweet it will seem,
Once more to dream in the moonlight,
Though with the dawn I know you'll be gone.
To-night you belong to me.
51914-L Oh! What I'd Give To Bring You Back
I'm like a lonesome child that's yearning,
For all the love that it once knew.
In all my dreams my heart still keeps returning,
Back to those days with you, Dear.
Oh! What I'd give to bring you back,
Back to my arms once more.
What happiness each fond caress,
Brought in days of yore.
You took the sunshine away,
You brought December to May, Dear.
Oh! What I'd give to bring you back,
Why do you stay away?
Hope is the light that's ever shining,
Through all the shadows of my night.
Oft when alone my heart is sadly pining,
I see again your love light.
Oh! What I'd give to bring you back,
Back to my arms once more.
What happiness each fond caress,
Brought in days of yore.
You took the sunshine away,
You brought December to May, Dear.
Oh! What I'd give to bring you back,
Why do you stay away?
You took the sunshine away,
You brought December to May, Dear.
Oh! What I'd give to bring you back,
Why do you stay away?
51955-R Take In The Sun, Hang Out The Moon
Saw a bob-o-link flyin' around the hills,
Asked the bob-o-link, "How's the whipporwills?"
Ho, oh, ho, ain't that dreamy.
Saw a little frog swimming in a pond,
Asked the little frog, "How you gettin' on?"
Ho, oh, oh, ain't that dreamy.
Take in the sun, hang out the moon,
And rock me in the cradle of dreams.
I want to be wi' those dear to me,
It's the only time I'm happy it seems.
Let my little "Train of thoughts" go traveling back once more.
To a place I'm always longing for.
Oh won't you take in the sun, hang out the moon,
And rock me in the cradle of dreams.
51955-L Falling In Love With You
Falling in love, falling in love with you, Dear,
Learning your smile, whispering I'll be true, Dear.
Roses are blooming everywhere,
I never knew they bloom so fair.
Birds in the trees sing melodies about you,
They seem to be jealous of me, they love you too,
Even the moon shining above knows what I'm dreaming of,
Falling in love, falling in love with you.
51969-R Cherie, I Love You (Cherie, Je T'Aime)
The language of love is the same,
In every clime, at any time.
A whisper, a smile, or a glance
Pierces the heart with Cupid's dart.
But dearest I want you to know
This message, for I love you so:
Cherie, Cherie je t'aime,
Cherie, listen again.
I want to tell you I love you so.
I can't pretend that I don't, you know.
Cherie, Cherie je t'aime,
Do not say it's in vain.
I love you, love you,
that's what I mean,
When I say Cherie, je t'aime,
I love you, love you,
that's what I mean,
When I say Cherie, je t'aime.
Each lover has tried to convey,
Thoughts that express love's happiness.
So my heart is yearning to say,
Just can presume my love is true.
But only these words can I sing,
to tell you the message they bring.
Cherie, Cherie je t'aime,
Do not say it's in vain.
I love you, love you,
that's what I mean,
When I say Cherie, je t'aime,
I love you, love you,
that's what I mean,
When I say Cherie, je t'aime.
51969-L The Song of Songs
Do you recall that night in June when first we met?
Do you remember, Love, the words we spoke?
Have you forgotten all the tender vows we made
In the silent, magical moonbeams' light?
Gone are the golden dreams with summer roses,
And all our tenderest vows were made but to be broken.
Song of songs, song of memory,
And broken melody of love and life,
Never more to me can that melody
Fill the heart with the joy once it knew.
O night of bliss, night of June and love,
Beneath the stars, amid the roses
O dream of delight that faded at dawn.
O song of songs, O night of bliss,
When you were my whole world of love.
I hear the nightingale within that garden fair
Sing as he sang when you were by my side.
I see your eyes reveal the love no words can tell,
And I know 'twas destiny made you mine.
Why should the robin sing when you are vanished,
And every blossoming flower outlive our dearest vows?
O night of bliss, night of June and love,
Beneath the stars, amid the roses
O dream of delight that faded at dawn.
O song of songs, O night of bliss,
When you were my whole world of love.
When you were my whole world of love, of love.
51980-R Take Your Finger Out of Your Mouth
Will you take your finger out of your mouth?
I want a kiss from you.
Will you take your finger out of your mouth?
You know you're over two.
A candy kiss is sweet you see,
But wait 'til you get that kiss from me.
So will you take your finger out of your mouth?
I want a kiss from you!
51980-L Shanghai Dream Man
Dream man, Shanghai dream man,
Leave a dream for me.
Dream man, Shanghai dream man,
Leave a dream for me.
Leave for me a dream of love,
I appeal to you.
Dream man, Shanghai dream man,
Make my dream come true!
52067-R Scotch Reel
The Scotch Reel.
Any number of couples may take part in this dance and continue as long as desired. It is usually performed in a circle formation although it may be danced in a straight line or in sets of two couples. The couples in each set face each other, their backs being toward the couples in the next set. Dancers and music begin together.
Swing opposite with right hand.
Swing partner with left.
Balance four.
Ladies chain.
Right and left.
Forward and back.
Forward again and pass through.
(repeat three times)
Swing opposite with right hand.
Swing partner with left.
Ladies chain.
Balance four.
Right and left.
Forward and back.
Forward again and pass through.
Swing opposite with right hand.
Swing partner with left.
Balance four.
Ladies chain.
Right and left.
All join hands forward.
Swing partners.
52067-L The Club Quadrille
Address partners.
Address corners.
First four right and left.
Side four right and left.
First four balance four.
Side four balance four.
First four ladies chain.
Side four ladies chain.
First four half promenade.
Half right and left.
Side four half promenade.
Half right and left.
First four lead to the right.
Right and left.
Lead to the left.
Ladies chain.
Side four lead to the right.
Right and left.
Lead to the left.
Ladies chain.
All join hands forward and back.
Turn partners.
All promenade.
Eight hands around.
Four ladies grand chain.
Right hand to partners, grand right and left.
All join hands forward and back.
Turn partners.
All promenade.
Right hand to partners, grand right and left.
All join hands forward and back.
Turn partners.
All promenade.
52098-R Bye-Bye, Pretty Baby
Bye-bye, pretty baby,
Don’t cry, pretty baby,
Times fly, pretty baby,
Soon our dreams will all come true.
Bye-bye, pretty baby,
Don’t cry, pretty baby,
Oh my, pretty baby
Bye-bye, bye-bye,
I’ll come back to you.
52128-R My Blue Heaven
When whippoorwills call, and evening is nigh,
I hurry to my blue heaven.
A turn to the right, a little white light,
Will lead you to my blue heaven.
A smiling face, a fireplace, a cozy room,
A little nest that's nestled where the roses bloom.
My darling and me, and baby makes three,
We're happy in my blue heaven.
52129-R Christmas In Other Lands, Part 1
It is a still night on the plains of Judea. Peace and tranquility shroud the countryside while weary travelers seek rest in vain. Finally they take shelter in a stable and there in a lowly manger Jesus the Christ is born...
Out on the plains three wise men are riding to pay tribute to the Nazarene. They follow a guiding star bearing their gifts of gold, frankincense and myrrh and finally reach the spot where the Christ child lay.
In Judea Christ the Lord was born,
Praise his name upon this Christmas morn.
Praise him on this day that marks his birth,
Savior and Lord and friend of all the earth.
Now let us take a trip into other lands, and see the customs that mark the anniversary of the birthday of Jesus. From the days of the druids, mistletoe was supposed to be an antidote against poison. Rosemary was offensive to evil spirits, and holly was hateful to witches. Today these decorative customs have lost their superstitious traditions, and are used for their own loveliness. And now we turn back the wheel of time and visit ancient England, where we hear the first Christmas carol:
God rest you merry, Gentlemen,
Let nothing you dismay,
Remember Christ our Savior
Was born on Christmas day.
O, tidings of comfort and joy!
Now let us peep into France where Noël is more festive than sacred, save for the Midnight Mass. Merry-making holds sway and yet in yonder house we hear the beloved "Cantique de Noël":
Minuit, chrétiens, c'est l'heure solennelle,
Où l'Homme-Dieu descendit jusqu'à nous
Pour effacer la tache originelle.
Et de Son Père arrêter le courroux.
Noël, Noël, voici le Rédempteur!
52129-L Christmas In Other Lands, Part 2
In Spain again is a festive spirit. Tambourines are played and they do claim that after Midnight Mass people have danced their way out of church. We hear a Latin-American Christmas song:
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In Italy the Bambino and Presepio are dear to all hearts during Natività. So we hear a lullaby to the Christ child:
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But where in this wide world is Christmas so beloved as in Germany? Here indeed it is celebrated religiously and socially. Here St. Bleubricht helps Santa Clause with the big wooden shoe and toy sack. The Christmas tree is at its best, and we hear a song dear to all hearts:
Stille Nacht! Heilige Nacht!
Alles schläft; einsam wacht
Nur das traute hoch heilige Paar.
Holder Knabe im lockigen Haar,
Schlaf' in himmlischer Ruh!
Schlaf' in himmlischer Ruh!
And now a favorite sung by the whole family:
O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter!
O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter!
Du grünst nicht nur zur Sommerzeit,
Nein auch im Winter, wenn es schneit.
O Tannenbaum, o Tannenbaum, wie treu sind deine Blätter!
Now we are home again and it does seem merrier than all the rest, but more than anywhere we've been. But if Americans lay claim to any special Christmas characteristic it is probably the hackneyed but loved poem:
'Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse.
The stockings were hung by the chimney with care,
In hopes that St Nicholas would soon be there.
And so may the spirit of Christmas time bless you and abide with you through the year!
52188-R Ev'rybody Loves My Girl
Hallelujah, ooh-ooh-ooh.
Oh, Hallelujah, Hallelujah!
Hallelujah, Hallelujah! Everybody cried.
Johnny swelled with pride, his girl was by his side.
Hallelujah, Hallelujah! He began to shout.
He told the crowd what he was proud to Halleloo about.
Fill your eyes full of that,
I'm not talking through my hat,
Everybody loves my girl. (They love her!)
Take a look, ain't she smart.
Don't look twice you'll break my heart,
Everybody loves my girl. (Oooh!)
My girl has such a voice,
What a voice, just like a bird.
She can sing anything,
and still she never smoked a Lucky!
What a neck, like a swan,
That's the neck I'm hanging on,
Everybody loves my girl. (They do...)
Aw look, fellows, they are jealous when we pass them by.
They look at her and sigh, "Why for that girl I'd die."
Tell me, John, has she a twin? And honest if it's true,
Right then and there you're gonna hear me Hallelujah too.
She's for me, I'm for her,
She's what gentlemen prefer.
Everybody loves my girl. (They love her, hmm, they love her!)
What a pal, loves to mix,
She's a perfect thirty-six.
Everybody loves my girl. (Oh, Hallelujah!)
Lots of this, more of that,
Know what I mean?
Flaming youth, that's the truth!
Fireman, turn on the water!
Gotta skin you love to touch,
Careful mustn't touch too much!
Everybody loves my girl.
Oh, Hallelujah, Hallelujah, Hallelujah!
I began to sing, I just bought a ring,
And it's a pretty thing.
Oh Hallelujah, Hallelujah, Hallelujah!
Someone said Amen.
Now let's go on but poor old John just started it again.
What style, what grace!
Are you looking at her face?
Everybody loves my girl. (Oooh)
Some may grin, some may frown,
Ankles made us all look down.
Everybody loves my girl.
Can't be scared, can't be bad, she'll do anything. (Oooh)
Swim or fly, low or high,
But she turns red in any yellow
Banks are bills in her hose, day by day the interest grows.
Everybody loves my girl!
52188-L Oh! Lucindy
Oh! Lucindy! How I love you 'deed I do.
Lordy me, 'cause I'sa feelin' so blue. (Blue)
Oh Miss Lucindy, all because of you. (Ooh)
I'll take up my bango and play you a tune,
Here by the light of the moon.
Oh, Lucindy, won't you name the wedding day soon. (soon)
I love you, my Lucindy!
Oh Miss Lucindy, I loves you. (Oooh)
Oh, I'm always dreaming of you. (of you)
And in dreams, Lucindy Dear, it seems that we is goin', a goin', (goin')
To a cabin 'neath with big roses a growin', oh Lucindy.
Down where the skies am so sunny, (Oooh)
We'll be so happy there, Honey, (Honey)
Seems like my poor heart'll bust in two,
Just for you, oh Honeydew.
Say you'll be mine, Miss Lucindy.
Lordy, Honey, my heart's bustin' in two. (two)
Oh sweet Lucindy, all because of you. (hmm)
I got the shovel and you got the shoes,
Go get the parson and chase away my blues,
Oh, ding dong (Honey) hear the wedding bells ring.
Ding dong...
Oh, Miss Lucindy, I loves you, (Oooh)
I'm always dreaming of you. (you)
And in dreams, Lucindy Dear, it seems that we is goin', a goin', (goin')
To a cabin 'neath with big roses growin', (for you are growin')
Down where the skies am so sunny, (where skies are sunny)
We'll be so happy there honey, (Ooh)
Seems like my poor heart'll bust in two,
Just for you, oh Honeydew.
Say you'll be mine, Miss Lucindy.
I love you Lucindy,
I want you here with me, (my honey)
Sweetest little Honey. (Oooh)
Oh Lucindy, (oooh)
Ain't you comin' out tonight? (tonight)
I's always dreaming of you. (Oooh)
And in dreams, Lucindy Dear, it seems that we is goin' home, goin' home.
To a cabin 'neath with big roses a growin'. (And in my dreams it seems)
Down where the skies am so sunny, (skies am sunny)
We'll be so happy there, Honey, (happy, Honey)
Seems like my poor heart'll bust in two,
Yes, for you, oh Honeydew.
Say you'll be mine, Miss Lucindy.
Oh, Lucindy, mine.
52193-R Soldiers' Chorus
Glory and love to the men of old!
Their sons may copy their virtues bold;
Courage in heart, and a sword in hand,
All ready to fight, or ready to die for Fatherland!
Who needs bidding to dare by a trumpet blown?
Who lacks pity to spare when the field is won?
Who would fly from a foe, if alone, at last?
And boast he was true, as coward might do, when peril is past?
Glory and love to the men of old!
Their sons may copy their virtues bold;
Courage in heart, and a sword in hand,
All ready to fight for Fatherland!
Now to home again we come,
The long and fiery strife of battle over;
Rest is pleasant after toil as hard as ours beneath a stranger sun,
(Beneath a wild and stranger sun.)
Many a maiden fair is waiting here,
(The maiden fair)
To greet her truant soldier lover,
And many a heart will fail, and brow grow pale,
(will fail, and brow grow pale)
To hear, to hear the tale of cruel peril he has run,
And many a heart, and many a heart will fail, and brow grow pale,
(And many a heart, a heart will fail, and many a heart will fail)
To hear the tale of peril he has run.
We are at home,
We are at home,
We are at home,
We are at home!
Glory and love to the men of old!
Their sons may copy their virtues bold;
Courage in heart, and a sword in hand,
All ready to fight for Fatherland!
All ready to fight, or ready to die for Fatherland,
All ready to fight, or ready to die, or ready to die for Fatherland,
52193-L Pilgrims' Chorus
Once more, dear home, I with rapture behold thee,
And greet the fields that so sweetly enfold thee;
Thou pilgrim staff may rest thee now,
Since I to God have fulfilled my vow.
By penance sore I have atoned,
And God's pure law my heart hath owned;
My pains hath He with blessing crowned,
To God my song shall aye resound,
To God my song shall aye resound!
Once more, dear home, I with rapture behold thee,
And greet the fields that so sweetly enfold thee;
Yes! Pilgrim staff, thy toil is o'er,
I'll serve my God forevermore,
Hallelujah! Hallelujah! Forevermore, forevermore.
52199-R Mary Ann
I wake up thinking of you, Mary Ann,
You're on my mind the live-long day.
I must confess I love you, Mary Ann,
I guess I give myself away.
CHORUS:
Every star up in the sky seems to wink as we go by,
Mary Ann, Mary Ann.
All the daisies in the dell seem to know, but they won't tell,
Mary Ann, Mary Ann.
Every little rosebud blooming in the heather,
Seems to whisper, "Go on, get together."
I can't wait until the time when we'll (I'll 2nd time) hear the church bells chime,
I'll be yours and you'll be mine Mary Ann.
I always loved the name of Mary Ann,
And pretty soon just wait and see,
They'll wonder what became of Mary Ann,
I know they all will envy me.
(to CHORUS):
52199-L Without You Sweetheart
You say that we're through,
That there's nothing I can do.
That will bring things back,
The way they used to be.
You say have your fun,
And go out with everyone,
I'm afraid it can't be done so easily,
That's fine for you but not for me.
How can I laugh, how can I sing,
How can I like any old thing,
Without you, sweetheart?
Where can I go when I feel blue,
Who do I know, what can I do,
Without you, sweetheart?
And tell me how can I sing about tomorrow?
What can it bring? A lot of tears and sorrow.
Here is my heart, what can I give,
Why did we part, how can I live,
Without you, sweetheart?
How can I work, how can I play,
And when I call, what can I say,
Without you, sweetheart?
When there's a moon shining above,
What good is youth, what good is love,
Without you, sweetheart?
And tell me, how can I dream of birds and flowers?
What can it mean, just lonely waking hours?
Morning or night, evening or dawn,
Nothing seems right, I can't go on,
Without you, sweetheart!
52231-R When You're With Somebody Else
When you're gone, I wander on,
To all the world I'm like a stranger,
And I'm so forlorn,
When you're with somebody else.
Each night and day, the skies are grey,
The birds, the bees, the trees,
The summer breezes fade away,
When you're with somebody else.
It's hard to care, and have to share,
The love that I've known,
Oh can't you see I want you all for my own?
I know that love's a game, so who's to blame?
I hope, and pray, and keep on wondering,
If you feel the same,
When you're with somebody else.
52231-L Ramona
Ramona, I hear the mission bells above,
Ramona, they're ringing out our song of love.
I press you, caress you, and bless the day you taught me to care,
To always remember the rambling rose you wear in your hair.
Ramona, when day is done you'll hear my call,
Ramona, we'll meet beside the water fall.
I dread the dawn when I awake to find you gone,
Ramona, I need you, my own.
52276-R Have You Ever Been In Ireland In April
You've been here and you've been there,
Probably been everywhere,
North and south and east and west,
Found each different from the rest,
Kilauea has its temple girls,
Scotland has its braes and belles.
But have you ever been in Ireland in April,
When the countryside is bursting into bloom?
Well have you ever been in Ireland in April,
On a night at the full of the moon.
When the soft summer air is alive everywhere,
With the nightingale's wonderful tune?
Well have you ever been in Ireland in April?
If you haven't let me say, "Go soon!"
Everywhere that I have been,
Everything that I have seen,
To my mind cannot compare,
With old Ireland ever fair.
Egypt has the river Nile,
California's quite worthwhile.
But have you ever been in Ireland in April,
When the countryside is bursting into bloom?
Well have you ever been in Ireland in April,
On a night at the full of the moon.
When the soft summer air is alive everywhere,
With the nightingale's wonderful tune?
Sure, have you ever been in Ireland in April?
If you haven't let me say, "Go soon!"
52276-L When I Build A Home Of Me Own
Go build a home of your own,
Is a slogan you hear everyday,
That killed my roaming alone,
And it started me saving my pay.
The little gray home that they sing of,
Won't have to be out in the west.
Sure I've got my eye on a spot,
And I'm dying to finish the rest.
When I build a home of me own,
Of plaster and mortar and stone,
The outside perhaps will be plain as can be,
But inside I'll have lots of beauty to see.
I'm a king but I don't need a throne,
Love will be ruling alone.
I'm envied by many for saving each penny
To build up a home of me own.
Some think that nothing will do
But the end of a honeymoon lane.
I'm strong for living there too,
And I trust I'm not hoping in vain.
I haven't much use for the castles
That some people build in the air.
I feel that mine will be real
With a few extra shingles to spare.
When I build a home of me own,
Of plaster and mortar and stone,
The outside perhaps will be plain as can be,
But inside I'll have lots of beauty to see.
I'm a king but I don't need a throne,
Love will be my cornerstone.
This happy foundation may add to the nation,
When I build a home of me own.
Sure there'll be no place like my home,
No place like mine.
With a fond wife and children,
To cheer me up when ...
I build a home of me own,
Of plaster and mortar and stone,
The outside perhaps will be plain as can be,
But inside I'll have lots of beauty to see.
I'm a king but I don't need a throne,
I'll spend no more nights all alone.
'Twill be a blue heaven for ten or eleven,
When I build a home of me own.
52322-R My Angel (Angela Mia)
Days were long, as I present them,
Overhead the skies were gray,
Dreams were long to be so friendless,
And when one day you came my way again.
Angela mia, you are my angel, dear,
The heavens sent you down to me from up above.
Angela mia, you are my guiding star,
A sweet Madonna that I honor and I love.
You're like the sunshine in all its splendor,
And I surrender each time you smile.
Angela mia, my prayers are answered now
And I am thankful for Angela mia.
You're like the sunshine in all its splendor
And I surrender each time you smile.
Angela mia, my prayers are answered now
And I am thankful for Angela mia.
52365-R Two Lips (To Kiss My Cares Away)
Two lips,
I'm looking for two lips,
To kiss my cares away,
My heart,
Is hoping a sweetheart,
Will come along some day.
I want someone to cuddle up and call me baby,
And after that maybe a wedding in May;
Where are those two lips?
I'm looking for two lips,
To kiss my cares away.
52365-L Just A Night For Meditation
Never saw the sky so blue,
Stars are playing peek-a-boo,
Just a night for meditation.
'Neath the dreamy sky like this,
No one here to share my kiss,
Where can I find consolation?
Angels weave a blanket out of moonbeams above,
Just to cover up a pair of lovers in love.
I'm haunted by an evening breeze,
All alone with memories,
Just a night for meditation,
Just a night to dream of you!
52376-R Girl Of My Dreams
Girl of my dreams I love you,
Honest I do.
You are so sweet,
If I could just hold your charms,
Again in my arms,
Then life would be complete.
Since you've been gone, dear,
Life don't seem the same,
Please come back again.
And after all's said and done,
There's only one,
Girl of my dreams, it's you!
52391-R Take Your To-Morrow
Take your tomorrow,
And give me today (and give me today).
For your tomorrow,
Is too far away (far away).
At every dawning,
I've waited in vain.
I find each morning,
Brings only rain.
How can I borrow tomorrow today?
With clouds around me all heavy and grey.
What tomorrow may bring,
Don't mean a thing.
That's why I say.
Take your tomorrow,
And give me today.
52391-L Sonny Boy
When there are grey skies,
I don't mind the grey skies.
You make them blue, Sonny Boy, Sonny boy.
Friends may forsake me.
Let them all forsake me.
You’ll pull me through, Sonny Boy.
Hmmm...
You're sent from heaven
And I know your worth.
You made a heaven
For me here on earth.
But if the angels grow lonely
Take you ’cause they’re lonely
I'll follow you, Sonny Boy.
52487-R Where Is My Wand’ring Boy To-Night?
Where is my wand'ring boy to-night,
The boy of my tenderest care,
The boy that was once my joy and light,
The child of my love and prayer?
Once he was pure as morning dew,
As he knelt at his mother's knee;
No face was so bright, no heart more true,
And none was so sweet as he.
CHORUS:
O where is my boy to-night?
O where is my boy to-night?
My heart o'erflows, for I love him, he knows;
O where is my boy to-night?
O could I see you now, my boy,
As fair as in olden time,
When prattle and smile made home a joy,
And life was a merry chime!
Go for my wand'ring boy to-night;
Go, search for him where you will;
But bring him to me with all his blight,
And tell him I love him still.
(to CHORUS)
52487-L The Ninety And Nine
There were ninety and nine that safely lay
In the shelter of the fold;
But one was out on the hills away,
Far off from the gates of gold.
Away on the mountains wild and bare;
Away from the tender Shepherd’s care.
Away from the tender Shepherd’s care.
“Lord, Thou hast here Thy ninety and nine;
Are they not enough for Thee?”
But the Shepherd made answer: “This of Mine
Has wandered away from Me.
And although the road be rough and steep,
I go to the desert to find My sheep.”
I go to the desert to find My sheep.”
And all through the mountains, thunder-riv’n,
And up from the rocky steep,
There arose a glad cry to the gate of heav’n,
“Rejoice! I have found My sheep!”
And the angels echoed around the throne,
“Rejoice, for the Lord brings back His own!”
“Rejoice, for the Lord brings back His own!”
52547-R A Precious Little Thing Called Love
Why does my heart miss a beat,
At some footsteps on the street,
It's a precious little thing called love.
Why am I content alone,
When I know someone will phone,
It's a precious little thing called love.
I see a day in June, a wedding tune,
A honeymoon cruise,
Friends I know who will throw,
Some rice and old shoes.
What's the one thing makes me say,
Heaven's just across the way,
It's a precious little thing called love.
52547-L Dream Train
Dream Train, please carry me back,
Dream Train, stay on the right track,
Take me back where I belong,
Some girl whistled and gone, tell the gang it won’t be long.
Dream Train, please turn on your steam,
Morning will soon end my dream,
Stop when the sweet old lady colors,
Welcome, my Dream Train.
57008-R Das ist der Tag des Herrn!
Das ist der Tag des Herrn!
Das ist der Tag des Herrn!
Ich bin allein auf weiter Flur;
Noch eine Morgenglocke nur,
Noch eine Morgenglocke nur,
Nun Stille nah und fern.
Anbetend knie ich hier.
O süßes Graun, geheimes Wehn,
Als knieten viele ungesehn
Und beteten mit mir.
Der Himmel, nah und fern,
Er ist so klar und feierlich,
So ganz, als wollt er öffnen sich.
Das ist der Tag des Herrn!
Das ist der Tag des Herrn!
73006-R Mit Gewitter Und Sturm
Mit Gewitter und Sturm aus fernem Meer
Mein Mädel, bin dir nah!
Über turmhohe Flut vom Süden her -
Mein Mädel, ich bin da!
Mein Mädel, wenn nich Südwind wär',
Ich nimmer wohl käm' zu dir!
Ach, lieber Südwind, blas' noch mehr!
Mein Mädel verlangt nach mir!
Hohojo! Hallohoho Jollohohoho! . . .
Von des Südens Gestad', aus weitem Land -
Ich hab' an dich gedacht!
Durch Gewitter und Meer vom Mohrenstrand
Hab' dir was mitgebracht.
Mein Mädel, preis' den Südwind hoch,
Ich bring' dir ein gülden Band;
Ach, lieber Südwind, blase doch!
Mein Mädel hätt' gern den Tand.
Jollohohoho! . . .
Mein Mädel, wenn nich Südwind wär'.
73006-L Elisabeth’s Gebet
Allmächt'ge Jungfrau, hör mein Flehen!
Zu dir, Gepriesne, rufe ich!
Lass mich im Staub vor dir vergehen,
O, nimm von dieser Erde mich!
O, nimm von dieser Erde mich!
Mach, dass ich rein und engelgleich
Eingehe in dein selig Reich!
Mach, dass ich rein und engelgleich
Eingehe in dein selig Reich!
Wenn je, in tör'gem Wahn befangen,
Mein Herz sich abgewandt von dir, -
Wenn je ein sündiges Verlangen,
Ein weltlich Sehnen keimt' in mir: -
So rang ich unter tausend Schmerzen,
Dass ich es töt' in meinem Herzen!
Doch, konnt ich jeden Fehl nicht büssen,
So nimm dich gnädig meiner an,
Nimm dich gnädig meiner an
Dass ich mit demutvollem Grüssen
Als würd'ge Magd dir nahen kann,
Um deiner Gnaden reichste Huld
Nur anzuflehn für seine Schuld!
Um deiner Gnaden reichste Huld
Nur anzuflehn für seine Schuld!
80064-R Beautiful Isle of Somewhere
Somewhere the sun is shining,
Somewhere the songbirds dwell;
Hush, then, thy sad repining;
God lives, and all is well.
Somewhere, Somewhere,
Beautiful Isle of Somewhere!
Land of the true, where we live anew:
Beautiful Isle of Somewhere!
Somewhere the day is longer,
Somewhere the task is done;
Somewhere the heart is stronger,
Somewhere the guerdon won.
Somewhere, Somewhere,
(Somewhere, beautiful, beautiful Isle)
Beautiful Isle of Somewhere!
Land of the true, where we live anew:
Beautiful Isle of Somewhere!
Somewhere the load is lifted,
Close by an open gate;
Somewhere the clouds are rifted,
Somewhere the angels wait.
Somewhere, Somewhere,
Beautiful Isle of Somewhere!
Land of the true, where we live anew:
Beautiful Isle of Somewhere!
80064-L Kathleen Mavourneen
Kathleen Mavourneen! the grey dawn is breaking,
The horn of the hunter is heard on the hill,
The lark from her light wing the bright dew is shaking,
Kathleen Mavourneen! what slumb'ring still?
Oh hast thou forgotten how soon we must sever?
Oh hast thou forgotten this day we must part;
It may be for years, and it may be forever,
Oh why art thou silent, thou voice of my heart,
It may be for years, and it may be forever,
Then why art thou silent, Kathleen Mavourneen?
It may be for years and it may be forever,
Then why art thou silent, thou voice of my heart,
It may be for years, and it may be forever,
Then why art thou silent, Kathleen Mavourneen?
80098-R Annie Laurie
Maxwelton’s braes are bonnie, where early falls the dew,
And ’twas there that Annie Laurie gave me her promise true.
Gave me her promise true, which ne’er forgot will be.
And for bonnie Annie Laurie, I’d lay me doon and dee.
Her brow is like the snowdrift, her throat is like the swan.
Her face it is the fairest that e’er the sun shone on.
That e’er the sun shone on,
And dark blue is her e’e.
And for bonnie Annie Laurie, I’d lay me doon and dee.
Like dew on the gowan lying is the fall of her fairy feet,
And like winds in summer sighing, her voice is low and sweet.
Her voice is low and sweet, and she’s all the world to me
And for bonnie Annie Laurie, I’d lay me doon and dee.
80098-L Call Me Your Darling Again
Call me your darling again,
And give me the smile I adore,
Say that I love not in vain,
Oh, keep me in sorrow no more;
Shadows are stealing around me,
And deep in my heart there is pain;
O, come to my side and caress me,
And call me your darling again;
Come to my side and caress me,
And call me your darling again.
CHORUS:
Call me your darling again,
Join in my fond heart's refrain,
O, come to my side and caress me,
And call me your darling again.
Whisper your sweet words of love,
And banish my heart’s weary sighs,
Pure as the bright stars above,
Is the love-light that dwells in your eyes!
Tell me there’s joy for the morrow,
To thee ever true I’ll remain.
O, wake, love, from silence and sorrow,
And call me your darling again;
Wake, love, from silence and sorrow,
And call me your darling again.
(to CHORUS)
80100-R The Rosary
The hours I spend with thee, dear heart,
Are as a string of pearls to me;
I count them over, every one apart,
My Rosary, my Rosary.
Each hour a pearl, each pearl a prayer,
To still a heart in absence wrung;
I tell each bead unto the end,
And there a cross is hung!
O memories that bless and burn!
O barren gain and bitter loss!
I kiss each bead and strive at last to learn,
To kiss the cross, sweetheart! To kiss the cross.
(repeat)
80100-L When the Robins Nest Again
"I will return," he said to me,
"I will come back, my love to thee.
When nature smiles on stars and sea,
I will return again to thee."
REFRAIN:
When the robins nest again,
And the flowers are in bloom,
When the Springtime's sunny smile,
Seems to banish all sorrow and gloom;
Then my bonnie blue-eyed lad,
If my heart is true 'til then,
Has promised he'll return to me,
When the robins nest again.
Life seems so bright when in thought I'm with thee,
Come Love, hasten, come back to me.
We'll build our nest with the robins in Springtime,
Donald! Return, Love, to me.
(to REFRAIN)
Last night in a dream I saw his proud ship wrecked at sea,
And I felt that my heart's dear song could never come back to me.
But the Springtime and robins will come, and with them the bravest of men.
For his last words were: "Darling, I'll meet you when the robins nest again.
(to REFRAIN)
80113-R Come Back to Erin
Come back to Erin, Mavourneen, Mavourneen,
Come back, Aroon, to the land of thy birth.
Come with the shamrocks and springtime, Mavourneen,
And its Killarney shall ring with our mirth.
Sure, when we lent you to beautiful England,
Little we thought of the lone winter days.
Little we thought of the hush of the star shine,
Over the mountains, the bluffs and the braes!
REFRAIN:
Then come back to Erin, Mavourneen, Mavourneen,
Come back again to the land of thy birth.
Come back to Erin, Mavourneen, Mavourneen,
And it's Killarney shall ring with our mirth.
Over the green sea, Mavourneen, Mavourneen,
Long shone the white sail that bore thee away;
Riding the white waves that fair summer morning,
Just like a Mayflower afloat on the bay.
O, but my heart sank, when clouds came between us,
Like a grey curtain, the rain falling down.
Hid from my sad eyes the path o'er the ocean,
Far, far away, where my Colleen had flown.
(to REFRAIN)
80113-L Lullaby--Erminie
Dear Mother, in dreams I see her,
With loved face sweet and calm.
And hear her voice with love rejoice,
When nestling on her arm.
I think how she softly pressed me,
Of the tears in each glistening eye,
As her watch she'd keep when she rocked to sleep,
Her child with this lullaby:
REFRAIN:
Bye-bye, bye-bye, bye-bye, bye-bye,
Bye-bye, bye-bye, bye-bye.
Bye-bye, drowsiness o'er-taking, pretty little eyelids sleep.
Bye-bye, watching 'til thou'rt waking, Darling be thy slumber deep.
Bye-bye, drowsiness o'er-taking, pretty little eyelids sleep.
Bye-bye, watching 'til thou'rt waking, Darling be thy slumber deep.
Bye-bye, bye-bye.
Ah! E'en when her life was ebbing,
Her words were all of me.
My future years were all her fears,
Her fate 'twas not to see.
My father, I heard you weeping,
As in sorrow you standing by.
And my mother's plaint in her accents faint,
This tender sweet lullaby:
(to REFRAIN)
80118-R Just Before The Battle, Mother
Just before the battle, Mother,
I am thinking most of you,
While upon the field we're watching
With the enemy in view.
Comrades brave are 'round me lying,
Filled with thoughts of home and God
For well they know that on the morrow,
Some will sleep beneath the sod.
Farewell, Mother, you may never (you may never, Mother)
Press me to your heart again.
But, oh, you'll not forget me, Mother, (you will not forget me)
If I'm numbered with the slain.
Hark! I hear the bugle sounding,
'Tis the signal for the fight,
Now, may God protect us, Mother,
As He ever does the right.
Hear the "Battle-Cry of Freedom,"
How it swells upon the air,
Oh, yes, we'll rally 'round the standard,
Or we'll perish nobly there.
Farewell, mother, you may never...
Press me to your heart again...
Fall in! (rumble)
Right, left, front!
Forward, right ranks, forward!
All boys ... onward!
Farewell, Mother, you may never (you may never, Mother)
Press me to your heart again,
But, oh, you'll not forget me, Mother, (you will not forget me)
If I'm numbered with the slain.
80118-L Won't You Write A Letter, Papa
A little girl was crying just as if her heart would break,
Her papa said, "It's time you were in bed.
Come tell me all your troubles and I'll try and set them right."
Between her sobs and sighs to him she said:
"I wish you'd write a letter to the angels, Papa dear,
And ask them please to send Mama to me.
I know that they could spare her and we're both so lonely here.
Now promise you will send it, promise me."
CHORUS:
Won't you write a letter, Papa,
I will tell you what to say.
Tell the angels I'm so lonely,
Won't they send Mama today.
Tell them I can't live without her
Tell them that you love her dear.
Tell them I am waiting for her,
'Cause I need my Mama here.
She waited for an answer but no message ever came,
She watched the postman passing every day.
Her papa tried to cheer her but alas was all in vain,
Before the roses came she passed away.
"Good-bye" she said to Papa, "I will tell Mama you're here.
Perhaps she'll send an angel down for you.
And when we meet in heaven we will never part again.
Now promise you'll come, please, Papa do."
(to CHORUS)
80127-R One Sweetly Solemn Thought
One sweetly solemn thought
Comes to me o'er and o'er,
I am nearer home today
Than I've ever been before.
Nearer my Father's house,
Where the many mansions be,
Nearer the great white throne,
Nearer the crystal sea.
Nearer the bounds of life (of life),
Where we lay our burdens down,
Nearer leaving the cross (the cross),
Nearer gaining the crown.
But lying darkly between,
Winding a-down thro' the night,
Is the silent, unknown stream,
That leads at last to the light.
Father, be near when my feet
Are slipping o'er the brink,
For it may be I am nearer home,
Nearer than I think.
80127-L Lead, Kindly Light
Lead, kindly Light, amid th' encircling gloom,
Lead Thou me on;
The night is dark, and I am far from home;
Lead Thou me on.
Keep Thou my feet, I do not ask to see
The distant scene one step enough for me.
I was not ever thus, nor prayed that Thou
Should lead me on;
I loved to choose and see my path; but now
Lead Thou me on.
I loved the garish day, and, spite of fears,
Pride ruled my will: remember not past years.
So long Thy Power hath blest me, sure it still
Will lead me on,
O'er moor and fen, o'er crag and torrent till
The night is gone;
And with the morn those angel faces smile,
Which I have loved long since, and lost awhile.
80145-R In The Gloaming
In the gloaming, oh, my darling!
When the lights are dim and low,
And the quiet shadows falling,
Softly come and softly go.
When the winds are sobbing faintly,
With a gentle unknown woe,
Will you think of me, and love me,
As you did once long ago?
In the gloaming, oh, my darling!
Think not bitterly of me!
Though I passed away in silence,
Left you lonely, set you free.
For my heart was crushed with longing,
What had been could never be;
It was best to leave you thus, dear,
Best for you and best for me.
It was best to leave you thus,
Best for you and best for me.
80145-L When The Twilight Comes To Kiss The Rose Good Night
Near a rose bush down in Dixie I am dreaming,
The leaves of time I'm turning o'er and o'er,
And I see you once again with fond eyes gleaming,
While the nightingale sings love's sweet song, Lenore, my lost Lenore,
The twilight comes to kiss the rose "Good Night!" dear,
As in the golden days of "Auld Lang Syne,"
And it seems to me I see love's tender light, dear,
In the Southern eyes that once were mine, all mine!
When the twilight comes to kiss the rose "Good Night!"
And the stars, like jewels, gleam with silvery light,
I can see the love light shine, once again you're mine all mine,
When the twilight comes to kiss the rose "Good Night!"
Though the garden is deserted now, my dearie,
The rose bush blooms as in the days of yore,
Though to me the wide, wide world seems mighty dreary,
My fond heart still holds the old love, sweet Lenore, my lost Lenore,
I wonder if the love that was denied me,
Still guides your footsteps through the world aright,
Or if sometimes, dear, you long to be beside me,
When the twilight comes to kiss the rose "Good Night!"
When the twilight comes to kiss the rose "Good Night!"
And the stars, like jewels, gleam with silvery light,
I can see the love light shine, once again you're mine all mine,
When the twilight comes to kiss the rose "Good Night!"
"Good Night, Good Night,"
When the twilight comes to kiss the rose "Good Night!"
80160-R I'll Take You Home Again, Kathleen
I'll take you home again, Kathleen,
Across the ocean wild and wide.
To where your heart has ever been,
Since first you were my bonnie bride.
The roses all have left your cheek,
I've watched them fade away and die.
Your voice is sad whene'er you speak,
And tears bedim your loving eyes.
Oh, I will take you back, Kathleen, (take you back, Kathleen)
To where your heart will feel no pain. (heart will feel no pain)
And when the fields are fresh and green, (fields are fresh and green)
I'll take you to your home again.
I know you love me, Kathleen dear,
Your heart was ever fond and true.
I always feel when you are near,
That life holds nothing dear but you.
The smiles that once you gave to me,
I scarcely ever see them now.
Though many, many times I see,
A darkening shadow on your brow.
Oh, I will take you back, Kathleen, (you back, Kathleen)
To where your heart will feel no pain. (will feel no pain)
And when the fields are fresh and green, (are fresh and green)
I'll take you to your home again.
80160-L On the Banks of the Brandywine
Brandywine, I see you flowing,
There's a face upon your shore.
Little girl, please stop your pining,
I'll be back with you once more.
On the banks where we were playmates,
There were games we used to play.
And I would run and hide from you,
But now I'll come back to stay.
REFRAIN:
On the banks of the Brandywine,
I hear you calling, sweet girl of mine.
By that silvery sighing stream with its shores of meadows green,
I see you fondly waving with those longing eyes that beam.
In my heart there's a love that grows,
Just as long as the river flows.
And I vow that you'll be mine where we've kissed a thousand times,
On the banks of the Brandywine.
Every day since we've been parted,
It just seems to be a year.
My return will soon be ending,
All your lonesome sighs and tears.
Tell the moon he'll soon be busy,
There's a couple longs to spoon.
Upon that shore where cupid rules,
There'll sure be a wedding soon.
(to REFRAIN)
80172-R America
My country, 'tis of thee,
Sweet land of liberty, of thee I sing;
Land where my fathers died,
Land of the pilgrims' pride,
From every mountainside let freedom ring!
Land where my fathers died,
Land of the pilgrims' pride,
From every mountainside let freedom ring!
My native country, thee,
Land of the noble free, thy name I love;
I love thy rocks and rills,
Thy woods and templed hills;
My heart with rapture thrills, like that above.
I love thy rocks and rills,
Thy woods and templed hills;
My heart with rapture thrills, like that above.
Our fathers' God, to thee,
Author of liberty, to thee we sing;
Long may our land be bright
With freedom's holy light;
Protect us by thy might, great God, our King.
Long may our land be bright
With freedom's holy light;
Protect us by thy might, great God, our King.
80172-L The Star Spangled Banner
Oh, say can you see by the dawn's early light,
What so proudly we hailed at the twilight's last gleaming?
Whose stripes and bright stars thru the perilous fight,
O'er the ramparts we watched were so gallantly streaming?
And the rocket's red glare, the bombs bursting in air,
Gave proof through the night that our flag was still there.
Oh, say does that star-spangled banner yet wave,
O'er the land of the free and the home of the brave?
On the shore, dimly seen through the mists of the deep,
Where the foe's haughty host in dread silence reposes,
What is that which the breeze, o'er the towering steep,
As it fitfully blows, half conceals, half discloses?
Now it catches the gleam of the morning's first beam,
In full glory reflected now shines in the stream:
'Tis the star-spangled banner! Oh long may it wave,
O'er the land of the free and the home of the brave!
80174-R Ring on Sweet Bells
Upon a quiet valley,
I gaze so broad and deep.
For here my heart is joyous,
And grief is put to sleep.
The evening bells are pealing,
And through the quiet dell,
Their plaintive tones resounding,
Of peace and plenty tell.
Of love so pure and holy,
No more I hear them ring.
But in my heart so lonely,
Their echoing accents ring,
But in my heart their accents ring.
Oh Ring, oh ring on merrily,
Of love so holy,
Of love so pure and holy,
But in my heart I hear,
Oh Ring, oh ring on merrily,
Of love so true,
Ring on, oh ring on merrily,
Of love so fond, so true.
The evening bells are pealing,
With solemn tone and slow.
They wake the deepest feelings,
The thought my heart can know.
My youthful days recalling,
With many joys gone by,
My autumn leaves are falling,
With longing grief I sigh.
And when my life's departing, (ring on)
Oh let thy music swell,
Through all this quiet valley.
And so my last farewell.
Through all the valley,
That is well.
Oh Ring, oh ring on merrily,
Of love so true.
Ring on, oh ring on merrily,
Of love so fond and true.
Ring on, sweet bells,
Of love so fond and true.
Ring on, sweet bells,
Ring on, sweet bells,
Of love so fond, so true.
80174-L A Song of Steel
Kling! Klang!
The ring of the iron on the anvil,
Is the music most sweet to my ear.
The sound of the blow of the hammer,
As it gives out its tones strong and clear.
And the glow of the fire in the furnace,
Drives the shadows of sorrow away,
And the flash of the sparks on the rafter,
Are the stars that are born in the day.
REFRAIN:
Kling! Klang! Don't you hear?
Kling! Klang! Loud and clear,
The music of the hammer on the anvil.
Kling! Klang! Kling!
Kling! Klang! Kling!
That's the sweetest music that the morning echoes bring.
Kling! Klang! Kling!
Kling! Klang! Kling!
The music of the hammer on the anvil.
Kling! Klang!
It's music of mind and of muscle.
All the forces of nature are there,
The trees seem to dance to its timing,
As the notes pierce the clear morning air;
And my heart beats with joy and with gladness,
To the chords that I strike on the steel,
And my life, from the glow of the metal,
Takes a warmth that is lasting and real.
(to REFRAIN)
80184-R The Birthday Of A King
In the little village of Bethlehem,
There lay a Child one day;
And the sky was bright with a holy light,
Over the place where Jesus lay.
REFRAIN:
Alleluia! O how the angels sang.
Alleluia! How it rang!
And the sky was bright with a holy light,
'Twas the birthday of a King.
Alleluia! O how the angels sang.
Alleluia! Oh how the chorus rang!
And the sky was bright with a holy light,
'Twas the birthday of a King.
'Twas a humble birthplace,
But O how much God gave to us that day,
From the manger bed what a path has led,
What a perfect, holy way.
(to REFRAIN)
80184-L Ring Out The Bells For Christmas
Ring out the bells for Christmas,
The happy, happy day;
In winter wild, the holy Child,
Within the cradle lay.
O wonderful! the Savior,
Is in the manger lone;
His palace is a stable,
And Mary's arms His throne.
REFRAIN:
Ring out the bells (ring out the bells) for Christmas,
Ring out the bells (ring out the bells) for Christmas,
Ring out the bells, (ring out the bells,) ring out the bells, (ring out the bells),
The happy, happy day.
(last time repeat REFRAIN, and add: The happy, happy day!)
On Beth'lem's quiet hillside,
In ages long gone by,
In angel notes the glory floats,
"Glory to God on high."
Yet wakes the sun as joyous,
As when the Lord was born,
And still He comes to greet you,
On every Christmas morn.
(to REFRAIN)
Where'er His sweet lambs gather,
Within this gentle fold,
The Savior dear is waiting near,
As in the days of old.
In each young heart you see Him,
In every guileless face,
You see the holy Jesus,
Who grew in truth and grace.
(to REFRAIN)
80214-R My Lady Of The Telephone
Oh the voice that's calling me,
How elusive it can be.
In the night or in the dawn,
Close at hand and then it's gone.
I can see you through a haze,
Calling me with maddening gaze,
When I reach to grasp you there,
You have disappeared in air.
Then as I turn away,
I hear your laughter gay.
CHORUS:
On the telephone I can hear you,
And it seems, my own, that I'm near you.
You're as taunting as can be,
You are ever haunting me.
Even in my dreams you are calling,
With a voice that seems so enthralling.
And I love but you alone,
My Lady of the Telephone.
(repeat)
Hello? Hello?
(to CHORUS)
80214-L Goodbye, Girls I'm Through
I'm the happiest Lad in all the Flowery Kingdom,
A miracle has come into my life.
I've seen the girl I've ever sought, the girl of whom I've ever thought.
The ideal one, I mean to make my wife.
Of course I've dallied in the "The Path of Flowers",
Where lotus lips and almond eyes are fine.
Like every other lad I've wasted hours,
But now the straight and narrow path for mine.
And so I say, without a sigh,
For the girls I've known in the days gone by.
CHORUS:
Goodbye girls, I'm through, (Goodbye)
Each girl that I have met,
I say goodbye to you, (Goodbye)
Without the least regret,
I've done with all flirtation,
You've no more fascination,
There's but one to whom I'm true,
Goodbye, girls, (Goodbye boys) goodbye girls, I'm through.
Goodbye girls, I'm through,
Each girl that I have met,
I say goodbye to you,
Without the least regret,
I've done with all flirtation,
You've no more fascination,
There's but one to whom I'm true,
Goodbye, girls, (Goodbye boys) goodbye girls, I'm through.
I have often read in poems and romances,
That someday in some way, if we but wait,
The one we seek both far and wide, the one for whom we've ever sighed,
Will come to us, 'tis so decreed by fate.
And so it's all come true as in a story,
A Yankee Princess like the golden sun,
Has risen in my sight in all her glory,
And now there'll never be another one.
And so I say, without a sigh,
For the girls I've known in the days gone by.
(to CHORUS)
80227-R There's a Little Spark of Love Still Burning
There was a fire burning in my heart,
Burning for years and for years.
Your love and kisses gave that flame a start,
I put it out with my tears;
You don’t remember, I can’t forget,
That old affection lives with me yet,
I keep on longing, to my regret,
I know I can’t forget.
CHORUS:
There’s a little spark of love still burning,
And yearning down in my heart for you,
There’s a longing there for your returning,
I want you! I do!
So come, come to my heart again,
Come, come, set that love a flame,
For there’s a little spark of love still burning, and yearning for you.
(2nd time repeat CHORUS)
I left you laughing when I said goodbye,
Laughing but nobody knew
How much relief I found when I could cry,
I cried my heart out for you;
I’ve loved you more than you’ll ever know,
Tho’ years have passed I’ve wanted you so,
Bring back the old love, let new love grow, come back and whisper low.
(to CHORUS)
80227-L You're Plenty Up To Date For Me
She was not a modern girl, her styles were all passé.
She didn’t go to tangos east to dance the hours away.
Now he had met a lot of girls, but still he liked her best.
He gave that old, old reason, you’re so different from the rest.
Said she, “All other boys complain that I am much to slow.
Perhaps you think the same as they?” He smiled, and said, “Although,”
CHORUS:
“There are some who think that you are just old-fashioned,
They don’t seem to like your sweet simplicity.
There are some who do not like your antique dresses,
Or the way you have a matching bashfully.
There are some who’d like you just a trifle bolder,
And to see you take a stronger drink than tea.
There are some who think that you are just old-fashioned,
Bur you’re plenty up to date for me.”
Time will change most anything; I’ve often heard folks say,
But time could never change this little girl in any way.
The boy had been around her, and of course was quite a sport,
But still he realized the little girl was not that sort.
Said she, “Why don’t you teach me how to be a tango miss?”
“Because,” said he, “ those girls prefer a wine glass to a kiss”
(to CHORUS)
80247-R Song Of The Chimes
Twilight falls and night draws near,
All will rock-a-bye, baby dear.
Nestle close on Mother's arm,
She will shield thee safe from harm.
Lullaby, lullaby,
Sleep, my baby, sleep.
Long ago a Mother mild,
Held just so her little Child.
Now the bells ring of good cheer,
Telling of the Baby dear,
Lullaby, lullaby,
Sleep, my little One, sleep.
80247-L Sweet Spirit, Hear My Prayer
Oh! Thou to whom this heart ne'er yet,
Turned in anguish or regret,
The past forgive, the future spare;
Sweet Spirit, hear my prayer!
REFRAIN:
Oh! leave me not alone in grief,
Send this blighted heart relief!
Send this blighted heart relief!
Make Thou my life thy future care,
Sweet Spirit, hear my prayer!
Ah! make my life thy future care,
Sweet Spirit, hear my prayer!
Hear, oh! hear my prayer!
Ah! hear my prayer.
Oh! Thou to whom my thoughts are known,
Calm, oh calm these trembling fears;
Ah! turn away the world's cold frown,
And dry my falling tears!
(To REFRAIN)
80251-R Pirates of Penzance Airs No. 1
Pour, O King the pirate sherry;
Fill, O King the pirate glass;
And, O King to make us merry
Let the pirate bumper pass.
Here's good luck to Fred'ric's ventures!
Fred'ric's out of his indentures.
Pour, O King the pirate sherry;
Fill, O King the pirate glass;
And, O King to make us merry
Let the pirate bumper pass.
I was a stupid nursery maid, on breakers always steering,
And I did not catch the word aright, through being hard of hearing;
Mistaking my instructions, which within my brain did gyrate,
I took and bound this promising boy apprentice to a pirate.
A sad mistake it was to make and doom him to a vile lot.
I bound him to a pirate -- you! -- instead of to a pilot.
Oh, false one, you have deceived me!
I have deceived you?
Yes, deceived me!
You told me you were fair as gold!
And, master, am I not so?
And now I see you're plain and old.
I'm sure I'm not a jot so.
Upon my innocence you play.
I'm not the one to plot so.
Your face is lined, your hair is grey.
It's gradually got so.
Faithless woman, to deceive me, I who trusted so!
Master, master, do not leave me! Hear me, ere I go!
Faithless woman,
Master, master,
Faithless woman,
Master, master,
Faithless woman, to deceive me, I who trusted so!
(Do not leave me, do not leave me! Hear me, ere I go!)
Faithless woman, to deceive me, I who trusted so!
(Master, master, do not leave me! Hear me, ere I go!)
How beautifully blue the sky,
The glass is rising very high,
Continue fine I hope it may,
And yet it rained but yesterday.
To-morrow it may pour again
(I hear the country wants some rain),
Yet people say, I know not why,
That we shall have a warm July.
To-morrow it may pour again
(I hear the country wants some rain),
Yet people say, I know not why,
That we shall have a warm July.
To-morrow it may pour again ...
Did ever maiden wake
From dream of homely duty,
To find her daylight break
With such exceeding beauty ...
Will anon be here!
Will anon be here!
I am the very pattern of a modern Major-General,
I've information vegetable, animal, and mineral,
I know the kings of England, and I quote the fights historical,
From Marathon to Waterloo, in order categorical;
I'm very well acquainted, too, with matters mathematical,
I understand equations, both the simple and quadratical,
About binomial theorem I'm teeming with a lot o' news,
A lot o' news? Yes, a lot o' news!
With many cheerful facts about the square of the hypotenuse.
With many cheerful facts about the square of the hypotenuse.
With many cheerful facts about the square of the hypotenuse.
With many cheerful facts about the square of the hypot-hypotenuse.
I'm very good at integral and differential calculus;
I know the scientific names of beings animalculous:
In short, in matters vegetable, animal, and mineral,
I am the very model of a modern Major-General.
In short, in matters vegetable, animal, and mineral,
He is the very model of a modern Major-General.
80251-L Pirates of Penzance Airs No. 2
When the foeman bares his steel,
Tarantara! tarantara!
We uncomfortable feel,
Tarantara!
And we find the wisest thing,
Tarantara! tarantara!
Is to slap our chests and sing,
Tarantara!
For when threatened with émeutes,
Tarantara! tarantara!
And your heart is in your boots,
Tarantara!
There is nothing brings it round
Like the trumpet's martial sound,
Like the trumpet's martial sound
Tarantara! tarantara!, etc.
Go, ye heroes, go to glory,
Though you die in combat gory,
Ye shall live in song and story.
Go to immortality!
Go to death, and go to slaughter;
Die, and every Cornish daughter
With her tears your grave shall water.
Go, ye heroes, go and die!
Ye shall live in song and story.
Go to immortality!
Go to death, and go to slaughter;
Die, and every Cornish daughter
With her tears your grave shall water.
Go, ye heroes, go and die!
Go, ye heroes, go and die! Go, ye heroes, go and die!
Yes, but you don't go!
We go, we go
Yes, forward on the foe!
Yes, forward on the foe!
Yes, but you don't go!
We go, we go
At last they go!
At last they really go!
We go! We go! We go! We go!
When a felon's not engaged in his employment
(his employment)
Or maturing his felonious little plans,
(little plans,)
His capacity for innocent enjoyment
(-cent enjoyment)
Is just as great as any honest man's.
(honest man's)
Our feelings we with difficulty smother
(-culty smother)
When constabulary duty's to be done.
(to be done)
Ah, take one consideration with another,
(with another)
A policeman's lot is not a happy one.
Ah, when constabulary duty's to be done, to be done,
A policeman's lot is not a happy one.
(happy one)
With cat-like tread,
Upon our prey we steal;
In silence dread,
Our cautious way we feel.
No sound at all!
We never speak a word;
A fly's foot-fall
Would be distinctly heard--
(Tarantara, tarantara! Tarantara, tarantara!)
So stealthily the pirate creeps,
While all the household soundly sleeps.
Come, friends, who plough the sea,
Truce to navigation;
Take another station;
Let's vary piracee
With a little burglaree!
Come, friends, who plough the sea,
Truce to navigation;
Take another station;
Let's vary piracee
With a little burglaree!
Let's vary piracee
With a little burglaree!
Let's vary piracee
With a little burglaree!
80255-R When Irish Eyes are Smiling
There's a tear in your eye, and I'm wondering why,
For it never should be there at all.
With such power in your smile, sure a stone you'd beguile,
So there's never a teardrop should fall.
When your sweet lilting laughter's like some fairy song,
And your eyes twinkle bright as can be;
You should laugh all the while and all other times smile,
And now, smile a smile for me.
REFRAIN:
When Irish eyes are smiling,
Sure, it's like a morn in Spring.
In the lilt of Irish laughter
You can hear the angels sing.
When Irish hearts are happy,
All the world seems bright and gay.
And when Irish eyes are smiling,
Sure, they steal your heart away.
For your smile is a part of the love in your heart,
And it makes even sunshine more bright.
Like the linnet's sweet song, crooning all the day long,
Comes your laughter so tender and light.
For the springtime of life is the sweetest of all,
There is ne'er a real care or regret;
And while springtime is ours throughout all of youth's hours,
Let us smile each chance we get.
(to REFRAIN)
80255-L Where the River Shannon Flows
There's a pretty spot in Ireland I always claim for my land;
Where the fairies and the blarney will never, never die.
It's the land of the shillelagh, my heart goes back there daily,
To the girl I left behind me when we kissed and said goodbye.
CHORUS:
Where the dear old Shannon's flowing,
Where the three-leaved shamrock grows,
Where my heart is I am going
To my little Irish rose.
And the moment that I meet her,
With a hug and kiss I'll greet her,
For there's not a colleen sweeter,
Where the river Shannon flows.
Sure no letter I'll be mailing for soon will I be sailing;
And I'll bless the ship that takes me to my dear old Erin's shore
There I'll settle down forever, I'll leave the old sod never,
And I'll whisper to my sweetheart, "Come and take my name Asthore."
(to CHORUS)
80276-R Abide With Me
Abide with me: fast falls the eventide;
The darkness deepens; Lord with me abide:
When other helpers fail, and comforts flee,
Help of the helpless, O abide with me!
Swift to its close ebbs out life's little day;
Earth's joys grow dim, its glories pass away;
Change and decay in all around I see;
O Thou who changest not, abide with me!
I need Thy presence every passing hour:
What but Thy grace can foil the tempter's power?
Who like Thyself my guide and stay can be?
Through cloud and sunshine, O abide with me!
Hold Thou Thy cross before my closing eyes;
Shine through the gloom, and point me to the skies:
Heaven's morning breaks, and earth's vain shadows flee:
In life, in death, O Lord, abide with me!
80276-L When the Roll is Called up Yonder
When the trumpet of the Lord shall sound, and time shall be no more,
And the morning breaks, eternal, bright and fair;
When the saved of earth shall gather over on the other shore,
And the roll is called up yonder, I'll be there.
CHORUS:
When the roll is called up yonder,
When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder,)
When the roll is called up yonder, I'll be there.
When the roll is called up yonder, I'll be there,
When the roll is called up yonder, I'll be there,
When the roll is called up yonder,
When the roll is called up yonder, I'll be there.
On that bright and cloudless morning when the dead in Christ shall rise,
And the glory of His resurrection share;
When His chosen ones shall gather to their home beyond the skies,
And the roll is called up yonder, I'll be there.
(to CHORUS)
Let us labor for the Master from the dawn till setting sun,
Let us talk of all His wondrous love and care;
Then when all of life is over, and our work on earth is done,
And the roll is called up yonder, I'll be there.
FINAL CHORUS:
When the roll is called up yonder,
(When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder,)
When the roll is called up yonder, I'll be there.
When the roll is called up yonder,
(When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder, I'll be there,)
When the roll is called up yonder,
(When the roll is called up yonder,)
When the roll is called up yonder, I'll be there.
When the roll is called up yonder, I'll be there,
When the roll is called up yonder, I'll be there,
When the roll is called up yonder,
When the roll is called up yonder, I'll be there.
80277-R (A) There Were Shepherds (B) Chorus - Glory To God
There were shepherds abiding in the field,
Keeping watch over their flocks by night.
And lo! the angel of the Lord came upon them,
And the glory of the Lord shone round about them,
And they were sore afraid.
And the angel said unto them, "Fear not:
For behold, I bring you good tidings of great joy,
Which shall be to all people.
For unto you is born this day in the City of David,
A Saviour, which is Christ the Lord."
And suddenly there was with the angel,
A multitude of the heav'nly host,
Praising God, and saying:
"Glory to God, glory to God in the highest,
And peace on earth.
Glory to God, glory to God, glory to God in the highest,
And peace on earth.
Good will towards men, towards men,
Good will towards men, towards men,
Glory to God, glory to God in the highest,
And peace on earth.
Good will towards men, towards men,
Good will, good will, good will,
Good will towards men, good will towards men."
80277-L Open The Gates Of The Temple
Open, open,
Open the gates of the Temple,
Open the gates of the Temple.
Open the gates of the Temple,
Strew palms on the Conqueror's way.
Open your hearts O ye people,
That Jesus may enter today.
Hark! from the sick and the dying,
Forgetting their couches of pain.
Voices, glad voices with rapture
Are swelling, are swelling,
Are swelling a glad refrain.
Voices, glad voices with rapture
Are swelling, a glad, a glad refrain.
I know, I know, I know,
I know that my Redeemer liveth.
Canst thou, my heart,
Lift up thy voice,
Thy voice and sing
I know, I know, yes
I know that my Redeemer liveth,
And because He lives,
And because He lives,
And because He lives,
I too, I too,
I too shall live.
80292-R Hallelujah Chorus
Hallelujah! Hallelujah!
Hallelujah! Hallelujah! Hallelujah!
Hallelujah! Hallelujah!
Hallelujah! Hallelujah! Hallelujah!
for the Lord God Omnipotent reigneth.
Hallelujah! Hallelujah! Hallelujah! Hallelujah!
for the Lord God Omnipotent reigneth.
Hallelujah! Hallelujah! Hallelujah! Hallelujah!
for the Lord God Omnipotent reigneth.
Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah! Hallelujah!
The kingdom of this world is become
the Kingdom of our Lord and of His Christ, and of His Christ;
and He shall reign for ever and ever
and He shall reign for ever and ever
and He shall reign for ever and ever
and He shall reign for ever and ever.
King of Kings,
for ever and ever. Hallelujah! Hallelujah!
and Lord of Lords,
for ever and ever. Hallelujah! Hallelujah!
King of Kings,
for ever and ever. Hallelujah! Hallelujah!
and Lord of Lords,
for ever and ever. Hallelujah! Hallelujah!
King of Kings,
for ever and ever. Hallelujah! Hallelujah!
and Lord of Lords,
King of Kings, and Lord of Lords,
and He shall reign for ever and ever
and He shall reign for ever and ever.
King of Kings,
for ever and ever.
and Lord of Lords,
Hallelujah! Hallelujah!
and He shall reign for ever, for ever and ever,
King of Kings,
and Lord of Lords,
King of Kings,
and Lord of Lords,
and He shall reign for ever, for ever and ever.
King of Kings,
for ever and ever,
and Lord of Lords.
for ever and ever,
Hallelujah! Hallelujah! Hallelujah! Hallelujah!
Hallelujah!
80293-R Mother Machree
There's a spot in me heart which no colleen may own,
There's a depth in me soul never sounded or known;
There's a place in me mem'ry, me life that you fill,
No other can take it, no one ever will.
REFRAIN:
Sure, I love the dear silver that shines in your hair,
And the brow that's all furrowed, and wrinkled with care.
I kiss the dear fingers so toil worn for me,
Oh, God bless you and keep you, Mother Machree!
Every sorrow or care in the dear days gone by,
Was made bright by the light of the smile in your eye,
Like a candle that's set in a window at night,
Your fond love has cheered me, and guided me right.
(to REFRAIN)
80293-L My Wild Irish Rose
If you listen, I'll sing you a sweet little song,
Of a flower that's now drooped and dead,
Yet dearer to me, yes, than all of its mates,
Tho' each holds aloft its proud head.
'Twas given to me by a girl that I know,
Since we've met, faith, I've known no repose,
She is dearer by far than the world's brightest star,
And I call her my wild Irish Rose.
REFRAIN:
My wild Irish Rose,
The sweetest flower that grows,
You may search everywhere,
But none can compare,
With my wild Irish Rose.
My wild Irish Rose,
The dearest flower that grows.
Some day for my sake, she may let me take,
The bloom from my wild Irish Rose.
They may sing of their roses which, by other names,
Would smell just as sweetly, they say,
But I know that my Rose would never consent,
To have that sweet name taken away.
Her glances are shy whene'er I pass by,
The bower, where my true love grows;
And my one wish has been that some day I may win,
The heart of my wild Irish Rose.
(to REFRAIN)
80321-R My Old Kentucky Home
The sun shines bright in the old Kentucky home,
'Tis summer, the darkies are gay,
The corn tops ripe and the meadows in the bloom,
While the birds make music all the day.
The young folks roll on the little cabin floor,
All merry, all happy, and bright.
By'n by hard times comes a-knocking at the door,
Then my old Kentucky home, good night.
CHORUS:
Weep no more, my lady,
Oh, weep no more today.
We will sing one song for the old Kentucky home,
For the old Kentucky home far away.
The head must bow and the back will have to bend,
Wherever the darky may go.
A few more days and the trouble all will end,
In the field where the sugar-canes grow.
A few more days for to tote the weary load,
No matter, 'twill never be light.
A few more days 'till we totter on the road,
Then my old Kentucky home, good night.
(to CHORUS)
80321-L Come Where The Lilies Bloom
Come away, away, away;
Come where the lilies bloom so fair;
Come away, away, away;
Come where the fragrance fills the air.
Oh, come, come, come, come ...
Come where the lilies (bloom), the sweet fragrant lilies (bloom),
Oh, come where the lilies bloom so fair. (bloom so fair)
Down in the meadows, the green verdant meadows,
Oh, come where the fragrance fills the air.
Come away, away, away;
Come where the lilies bloom so fair;
Come away, away, away;
Come where the fragrance fills the air.
Here beautiful lilies grow, (here beautiful lilies grow)
Here beautiful lilies grow, (beautiful lilies, beautiful lilies)
White, white as the drifting snow, (white, white as the drifting snow)
Here beautiful lilies bloom white as snow.
Come when the shadows gently are falling,
Over land and sea, over land and sea,
(Come when) Evening shadows fall around us,
And the flowers have gone to sleep.
Softly the night wings fan mid the flowers,
Whispering music sweet (whispering music)
Lightly the nightingale is singing,
When the flowers have gone to sleep.
Oh ... Oh, come, come, come, come ...
Come where the lilies (bloom), the sweet fragrant lilies (bloom),
Oh, come where the lilies bloom so fair. (bloom so fair)
Down in the meadows, the green verdant meadows,
Oh, come where the fragrance fills the air.
On the winding path by the brookside,
There we'll wander mid flowers, beautiful flowers,
Where the rippling waters are flowing,
And the sweet music of birds floats on the air.
On the winding path by the brookside,
There we'll wander mid flowers, beautiful flowers,
Where the rippling waters are flowing,
And the sweet music of birds floats on the air.
Come away, away, away;
Come where the lilies bloom so fair;
Come away, away, away;
Come where the lilies bloom, come where the lilies bloom,
Come where the lilies bloom, come where the lilies bloom,
Come away (Oh come), come away (Oh come),
Come, oh come, away!
80327-R Last Night
Last night the nightingale woke me,
Last night when all was still.
It sang in the golden moonlight,
From out the woodland hill.
I opened my window so gently,
I looked on the dreaming dew.
And oh! The bird my darling was singing,
Singing of you, of you.
I think of you in the day time,
I dream of you by night.
I wake and would you were here love,
And tears are blinding my sight.
I hear a low breath in the limetree,
The wind is floating through,
And oh! The night my darling,
Is sighing, sighing for you, for you.
O think not I can forget you;
I could not if I would.
I see you in all around me,
The stream, the night, the wood.
The flowers that slumber so gently,
The stars above the blue.
Oh! Heaven itself my darling,
Is praying, praying for you, for you.
80327-L The Last Rose of Summer
‘Tis the last rose of Summer, left blooming alone;
All her lovely companions are faded and gone;
No flower of her kindred, no rose-bud is nigh,
To reflect back her blushes, or give sigh for sigh!
I’ll not leave thee, thou lone one, to pine on the stem;
Since the lovely are sleeping, go sleep thou with them.
Thus kindly I scatter thy leaves o’er the bed
Where thy mates of the garden, lie scentless and dead.
Where thy mates of the garden, lie scentless and dead.
Where thy mates of the garden, lie scentless and dead,
Lie scentless and dead.
80343-R God Be With You Till We Meet Again
God be with you till we meet again;
By His counsels guide, uphold you,
With His sheep securely fold you;
God be with you till we meet again.
CHORUS:
Till we meet, (Till we meet,) till we meet, (till we meet,)
Till we meet at Jesus' feet; (till we meet,)
Till we meet, (Till we meet,) till we meet, (till we meet,)
God be with you till we meet again.
God be with you till we meet again;
'Neath His wings protecting hide you,
Daily manna still provide you;
God be with you till we meet again.
(to CHORUS)
God be with you till we meet again;
When life's perils thick confound you,
Put His arms unfailing round you;
God be with you till we meet again.
(to CHORUS)
God be with you till we meet again;
Keep love's banner floating o'er you,
Smite death's threatening wave before you;
God be with you till we meet again.
(to CHORUS)
80343-L I Surrender All
All to Jesus I surrender,
All to Him I freely give;
I will ever love and trust Him,
In His presence daily live.
CHORUS:
I surrender all, (I surrender all,)
I surrender all, (I surrender all,)
All to Thee, my blessed Savior,
I surrender all.
All to Jesus I surrender,
Humbly at His feet I bow,
Worldly pleasures all forsaken,
Take me, Jesus, take me now.
(to CHORUS)
All to Jesus I surrender,
Make me, Savior, wholly Thine.
Let me feel the Holy Spirit,
Truly know that Thou art mine.
(to CHORUS)
All to Jesus I surrender,
Lord, I give myself to Thee;
Fill me with Thy love and power,
Let Thy blessing fall on me.
(to CHORUS)
80350-R Loch Lomond
By yon bonnie banks, and by yon bonnie braes,
Where the sun shines bright on Loch Lomond,
Where me and my true love will never march again,
On the bonnie, bonnie banks of Loch Lomond.
REFRAIN:
Oh! ye'll take the high road, and I'll take the low road,
And I'll be in Scotland afore ye,
But me and my true love will never meet again,
On the bonnie, bonnie banks of Loch Lomond.
Was then that we parted in yon shady glen,
On the steep, steep side of Ben Lomond,
Where in purple hue the Highland hills we view,
And the moon coming out in the gloamin'.
(to REFRAIN)
The wee birdies sang and the wild flowers spring,
And in sunshine the waters are sleeping,
But the broken heart it kens nae second spring again,
Though the waeful may cease frae their greeting.
(to REFRAIN)
80350-L All Through The Night
Sleep, my love, and peace attend thee,
All through the night.
Guardian angels God will lend thee,
All through the night.
Soft the drowsy hours are creeping,
Hill and dale in slumber steeping,
Love alone his watch is keeping--
All through the night.
Though I roam a minstrel lonely,
All through the night,
My true harp shall praise thee only,
All through the night.
Love's young dream, alas, is over,
Yet my strains of love shall hover,
Near the presence of my lover,
All through the night.
Hark! a solemn bell is ringing,
Clear through the night.
Thou, my love, art heavenward winging,
Home through the night.
Earthly dust from off thee shaken,
Soul immortal thou shalt waken,
With thy last dim journey taken,
Home through the night.
80355-R Shall We Gather At The River
Shall we gather at the river,
Where bright angel feet have trod,
With its crystal tide forever
Flowing by the throne of God?
REFRAIN:
Yes, we’ll gather at the river,
The beautiful, the beautiful river;
Gather with the saints at the river
That flows by the throne of God.
On the margin of the river,
Washing up its silver spray,
We will walk and work together,
All the happy golden day.
(to REFRAIN)
Ere we reach the shining river,
Lay we every burden down;
Grace our spirits will deliver,
And provide a robe and crown.
(to REFRAIN)
At the smiling of the river,
Mirror of the Savior’s face,
Saints, whom death will never sever,
Lift their songs of saving grace.
(to REFRAIN)
Soon we’ll reach the silver river,
Soon our pilgrimage will cease;
Soon our happy hearts will quiver
With the melody of peace.
(to REFRAIN)
80355-L All Hail The Power Of Jesus’ Name
All hail the power of Jesus' name! Let angels prostrate fall;
Bring forth the royal diadem, and crown Him Lord of all,
Bring forth the royal diadem, and crown Him Lord of all.
Crown Him, ye martyrs of our God, who from His altar call;
Extol the stem of Jesse’s rod, and crown him Lord of all,
Extol the stem of Jesse’s rod, and crown him Lord of all.
Ye seed of Israel's chosen race, ye ransomed from the fall,
Hail Him who saves you by His grace, and crown Him Lord of all,
Hail Him who saves you by His grace, and crown Him Lord of all.
Let ev'ry kindred, ev'ry tribe, on this terrestrial ball,
To Him all majesty ascribe, and crown Him Lord of all,
To Him all majesty ascribe, and crown Him Lord of all.
O that with yonder sacred throng we at His feet may fall!
We'll join the everlasting song, and crown Him Lord of all,
We'll join the everlasting song, and crown Him Lord of all.
Amen.
80360-R Old Jim's Christmas Hymn
Old Jim was a character, well-known about the town,
From singing in the village church he'd gained a great renown;
To hear him sing each Sunday morn, to church the good folks came,
But soon he drifted downward to a drunkard's life of shame;
Though years had passed since poor old Jim, from church had strayed away,
He told the parson be would sing that coming Christmas day;
When Christmas came within that church there sat in every seat
A saddened heart when Jim arose and sang so soft and sweet:
CHORUS:
Rock of ages, cleft for me, each eye with tears was dim;
Rock of ages, cleft for me, that was old Jim's Christmas hymn.
Christmas days will come and go, and so will Christmas hymns,
But never will there be a song to equal that of Jim's;
The song of "Rock of Ages" all thro' life had been his choice:
For when a child 'twas taught him by his dear old mother's voice;
Within those same old sacred walls, in Christian songs of praise.
His voice had oft been heard before, since early childhood days;
But sweeter far than ever It was now to that great throng,
Which gathered there on Christmas morn, to hear Jim sing his song.
(to CHORUS)
80360-L The Star Of Bethlehem
It was the eve of Christmas, the snow lay deep and white,
I sat beside my window, and looked into the night,
I heard the church bells ringing, I saw the bright stars shine,
And childhood came again to me, with all its dreams divine.
Then, as I listened to the bells, and watched the skies afar,
Out of the East majestical there rose one radiant star;
And every other star grew pale before that heavenly glow,
It seemed to bid me follow, and I could not choose but go.
It seemed to bid me follow, and I could not choose but go.
And then me thought earth faded, I rose as borne on wings,
Beyond the waste of ruined lives, the press of human things;
Above the toil and shadow, above the want and woe,
My old self and it darkness seemed left on earth below.
And onward upward shone the star, until it seemed to me,
It flashed upon the golden gate, and o’er the crystal sea;
And then the gates rolled backward, I stood where Angels trod;
It was the star, the star of Bethlehem had led me up to God,
The star, the star, had led me up to God.
80385-R Camp Songs, U. S. Army—No. 1
Uncle Sammy he needs the infantry, he needs the cavalry he needs artillery,
And then, by gosh, we’ll all go to Germany,
God help hide the vale,
God help hide the vale,
God help hide the vale.
Uncle Sammy he can’t be infantry, he can’t be cavalry, he can’t artillery,
And now, by gosh, we’ll all go to Germany,
God help hide the vale.
Over there, over there,
Send the word, send the word over there,
That the Yanks are coming, the Yanks are coming,
The drums rum-tumming everywhere.
So prepare, say a prayer,
Send the word, send the word to beware.
We'll be over, we're coming over,
And we won't come back till it's over over there.
Green stockings, to an army visor all aboard to can the Kaiser,
Look away, look away, look away, Germany.
In Kaiserland he reigns alone with footsteps high aloft the storm,
Look away, look away, look away, Germany.
We’re off to can the Kaiser
Hooray, Hooray,
In Kaiserland we’ll take our stand,
until we can the Kaiser.
Let’s go, let’s go, let’s go and can the Kaiser,
Let’s go, let’s go, let’s go and can the Kaiser.
Good-bye Bill you’re through,
We’ll transfer stocks to sleds,
We’ll tie a can to you,
Without the least regret.
Our love is over-rising,
It sure looks paralyzing,
We will keep this aim in view,
We’ll get you, we’ll get you,
Goodbye Bill, you’re through.
There's a long, long trail a-winding,
Into no-man’s land in France.
Where the traps of shells are bursting,
But we must at land,
There'll be lots of drills and hiking,
Before our dreams all come true;
But we’ll overthrow the Kaiser,
Of a Yankee voice come true.
I may be gone for a long, long time,
Long, long time, yes, a long, long time,
But when I go, you may know,
That I’ll always find,
For the next time you’ll be mine.
This sure could be for a long, long time,
Rain or shine, we call fine.
And I’ll be just as true to you,
As to the Red-White-and Blue,
Though I’m gone for a long, long time.
80385-L Camp Songs, U. S. Army—No. 2
Pack up your troubles in your old kit-bag,
And smile, smile, smile,
While you've a lucifer to light your fag,
Smile, boys, that's the style.
What's the use of worrying?
It never was worthwhile, so,
Pack up your troubles in your old kit-bag,
And smile, smile, smile.
Why the dale home we are coming,
With our army overseas.
And you forgot our motto,
Which is, “Do not threaten me!”
Well, beat the dust, we never promised,
But we’ll finish Germany,
And we’ll hang you by the William,
on the finest Linden tree.
Where do we go from here, boys?
Where do we go from here?
Switzer pills for Kaiser Bill,
Can make him dead appear.
And when we see the enemy,
We’ll shoot them in the rear.
Oh joy, oh boy,
Where do we go from here?
Here we are,
We’re off to Berlin town.
We’ll turn Bill,
And his army upside down.
And when the allies make,
The Kaiser shed his crown,
There’ll be a hot time,
In the old town that night.
Oh baby, here we are,
We’re off to Berlin town.
We’ll turn Bill,
Like his army upside down.
And when the allies make,
The Kaiser shed his crown,
There’ll be a hot time,
In the old town that night.
Wait ’til the war is over,
And we see the U.S.A.
We will be happy, Fanny,
Some fine day.
Back to our homes we’ll wander,
Happy you and I.
Wait ’til the war is over,
Bye and bye.
Keep the home fires burning,
While your hearts are yearning.
Though your lads are far away,
They dream of home.
There’s a silver lining,
Through the dark clouds shining,
Turn the dark clouds inside out,
Till the boys come home.
80395-R Dixieland Memories No. 1
There was an old nigger and his name was Uncle Ned,
And he died long ago, long ago.
And he had no wool on the top of his head,
On the place where the wool ought to grow.
Then lay down the shovel and the hoe.
Hang up the fiddle and the bow.
There's no more hard work for poor Uncle Ned,
For he's gone where the good niggers go.
Way down upon the Swanee River,
Far, far away,
There's where my heart is turning ever,
There's where the old folks stay.
All up and down the whole creation,
Sadly I roam,
Still longin' for the old plantation,
And for the old folks at home.
All the world am sad and dreary,
Everywhere I roam.
Oh, Darkies, how my heart grows weary,
Far from the old folks at home.
The morn of life is past, and evening comes at last.
It brings me a dream of a once happy day.
Of merry forms I've seen upon the village green,
Sporting with my old dog, Tray.
Old dog Tray's ever faithful,
Grief cannot drive him away.
He's gentle, he is kind, I'll never, never find,
A better friend than old dog Tray.
I came from Alabama with my banjo on my knee,
I'm gwan' to Louisiana, my true love for to see.
It rained all night the day I left, the weather bein' dry.
The sun so hot I froze to death! Susannah, don't you cry.
Oh! Susannah, oh don't you cry for me.
I've come from Alabama with my banjo on my knee.
Oh! Susannah, oh don't you cry for me.
I've come from Alabama with my banjo on my knee.
80395-L Dixieland Memories No. 2
De Camptown ladies sing dis song,
Doo-dah! Doo-dah!
De Camptown racetrack's nine miles long,
Oh! Doo-dah-day!
I came down there with my hat caved in,
Doo-dah! Doo-dah!
I's gwine back home with a pocket full of gin,
Oh! Doo-dah-day!
CHORUS:
Gwine to run all night!
Gwine to run all day!
I'll bet my money on the bobtail nag,
Somebody bet on the bay.
(repeat CHORUS)
When I lived in Tennessee, U-li-a-le o-la e,
I went courtin' Rosa Lee, U-li-a-le o-la-e.
Eyes as dark as winter night,
Lips as red as berry bright,
When first I did her wooing go,
She said, "Now don't be foolish, Joe."
U-li-a-le o-la-e, Courtin' down in Tennessee,
U-li-a-le o-la-e, 'Neath de wild Banana tree.
Let us pause in life's pleasures, and count its many tears,
While we all sup sorrow with the poor;
There's a song that will linger forever in our ears,
"Oh! Hard times, come again no more."
'Tis the song, the sigh of the weary,
Hard times, hard times, come again no more;
Many days you have lingered around my cabin door,
Oh! Hard times, come again no more.
I wish I was in the Land of Cotton,
Old times there am not forgotten,
Look away, look away,
Look away, Dixieland!
In Dixieland where I was born in,
Early on one frosty morning,
Look away, look away,
Look away, Dixieland!
I wish I was in Dixie, Hurray, Hurray!
In Dixieland I'll take my stand, to live and die in Dixie,
Away, away, away down south in Dixie!
Away, away, away down south in Dixie!
80406-R Just A Baby's Prayer At Twilight
I've heard the prayers of mothers,
Some of them old and gray,
I've heard the prayers of others,
For those who went away.
Oft times a prayer will teach one,
The meaning of good-bye.
I felt the pain of each one,
But this one made me cry:
Just a baby's prayer at twilight, when lights are low.
Poor baby's years are filled with tears.
There's a mother there at twilight who's proud to know,
Her precious little tot is Dad's forget-me-not.
After saying "good-night mama," she climbs up stairs,
Quite unawares, and says her prayers,
"Oh! Kindly tell my daddy that he must take care,"
That's a baby's prayer at twilight for her daddy over there.
Hmmm...
Poor baby's years are filled with tears.
Hmmm...
Her precious little tot is Dad's forget-me-not.
After saying "good-night mama," she climbs up stairs,
Quite unawares, and says her prayers,
"Oh! Kindly tell my daddy that he must take care,"
That's a baby's prayer at twilight for her daddy over there.
80406-L Lorraine
Beside a campfire gleaming, a grenadier was dreaming,
His thoughts went back again to other years.
Night shadows found him, and as they gathered around him,
Tenderly he murmured through his tears:
CHORUS:
"Lorraine, Lorraine, my beautiful Alsace Lorraine!
You're in my heart forever to remain, (remain)
I see your village steeple, your quaint, old fashioned people,
And I wouldn't care if I could be there again, Lorraine!
Heart of France, part of France,
Someday when all of my worries are through, I'm coming to you
Lorraine, (Lorraine,) Lorraine, (Lorraine,) O welcome me home once again,
To live and die in my Alsace Lorraine." (last time: Lorraine)
He dreamt that he was straying among the children playing,
And often kissed his mother's tears away.
But ah, the awaking! How his sad heart it was breaking,
How he wished that he could dream for aye:
(to CHORUS)
80411-R When I’m Gone You’ll Soon Forget
When I’m gone you’ll soon forget me,
And ’tis better I should go.
You regret the day you met me,
You have often told me so.
Once your heart was in my keeping,
And perchance you love me yet.
Far away I’ll soon be sleeping,
When I’m gone you’ll soon forget.
(to REFRAIN)
REFRAIN:
When I’m gone you’ll soon forget me,
When from you I’m far away.
You’ll be happy in the old home,
That you yearn for day by day.
In your heart there’ll be no longing,
Not one pain or fond regret.
I will leave you in life’s morning,
When I’m gone you’ll soon forget.
Once love’s light was brightly burning,
In our quiet little home.
In our heart there was no yearning,
We were happy there alone.
Golden hours we passed together,
In those days when first we met.
I will leave you now forever,
When I’m gone you’ll soon forget.
(to REFRAIN)
80411-L Ole Virginny Days
Mandy, does ya ’member ole Virginny?
Would you like to be there, child, once mo’?
’Member how we loved our little cabin,
How the roses bloomed around the door? (the door)
I can see our little pickaninnies,
With their cunning, loving little ways,
Mandy, all the evenin’ I’ve been dreamin’,
Dreamin’ of the ole Virginny days.
CHORUS:
Dreamin’, yes, a-dreamin’ of those ole Virginny days, (those days)
Wandrin’, yes, a-wandrin’ back along sweet memory’s ways,
Lookin’ and alongin’,
As to the Lord I prays.
For the sunshine and the sadness,
Of those ole Virginny days.
Mandy does ya ’member dear old Massa?
Missy, with her lovely silver hair?
Lord, I thought I heard old Massa callin’,
Just as I was comin’ down the stair. (the stair)
I can see the fields all white with cotton,
And the trees with Autumn all ablaze,
Mandy, I’ve been happy while a-dreamin’,
Dreamin’ of the ole Virginny days.
(to CHORUS)
80416-R The Ninety and Nine
There were ninety and nine that safely lay
In the shelter of the fold.
But one was out on the hills away,
Far off from the gates of gold.
Away on the mountains wild and bare.
Away from the tender Shepherd's care.
Away from the tender Shepherd's care.
"Lord, Thou hast here Thy ninety and nine;
Are they not enough for Thee?"
But the Shepherd made answer: "This of Mine
Has wandered away from Me;
And although the road be rough and steep,
I go to the desert to find My sheep,
I go to the desert to find My sheep."
But none of the ransomed ever knew
How deep were the waters crossed;
Nor how dark was the night that the Lord passed through
Ere He found His sheep that was lost.
Out in the desert He heard its cry,
Sick and helpless and ready to die;
Sick and helpless and ready to die.
"Lord, whence are those blood drops all the way
That mark out the mountain's track?"
"They were shed for one who had gone astray
Ere the Shepherd could bring him back."
"Lord, whence are Thy hands so rent and torn?"
"They are pierced tonight by many a thorn;
They are pierced tonight by many a thorn."
But all through the mountains, thunder riven
And up from the rocky steep,
There arose a glad cry to the gate of heaven,
"Rejoice! I have found My sheep!"
And the angels echoed around the throne,
"Rejoice, for the Lord brings back His own!
Rejoice, for the Lord brings back His own!"
80416-L The Church in The Wildwood
There's a church in the valley by the wildwood,
No lovelier place in the dale;
No spot is so dear to my childhood
As the little brown church in the vale.
CHORUS:
(Oh, come, come, come, come …)
Come to the church in the wildwood,
Oh, come to the church in the dale;
No spot is so dear to my childhood
As the little brown church in the vale.
How sweet on a clear Sabbath morning,
To list to the clear ringing bell;
Its tones so sweetly are calling,
Oh come to the church in the vale.
(to CHORUS)
There close by the church in the valley,
Lies one that I loved so well.
She sleeps, sweetly sleeps 'neath the willows,
Disturb not her rest in the vale.
(to CHORUS)
There close by the side of that loved one,
'Neath the tree where the wild flowers bloom;
When the farewell hymn shall be chanted,
I shall rest by her side in the tomb.
(to CHORUS)
80425-R When You Come Back And You Will Come Back, There's the Whole World Waiting for You
From 'Frisco Bay to old Broadway,
Today all over the U. S. A.,
We know we're fighting the foe.
So we all stand steady and ready to go.
We know no fear, we know no tear,
And all we hear is the Yankee cheer.
I heard a girlie say,
To her boy as he marched away:
REFRAIN:
When you come back, if you do come back,
You'll hear the Yankee cry, "At-a-boy, Jack!"
And when you return remember to bring,
Some little thing that you get from the king.
And drop me a line from Germany,
Do, Yankee Doodle, do!
When you come back, and you will come back,
There's the whole world waiting for you.
(repeat REFRAIN)
It's rum, tum, tum, the fife and drum,
So march in time for the time has come,
To smash right through with a bang.
With the same old spirit when liberty rang,
To win, begin to rush right in,
And fly our flag over old Berlin.
Let's let our message be,
To the Yankee across the sea:
(to REFRAIN)
80425-L Smiles
Dearie, now I know,
Just what makes me love you so,
Just what holds me and enfolds me,
In its golden glow;
Dearie, now I see,
'Tis each smile so bright and free,
For life's sadness turns to gladness,
When you smile on me.
REFRAIN:
There are smiles that make us happy,
There are smiles that make us blue,
There are smiles that steal away the tear drops,
As the sunbeams steal away the dew,
There are smiles that have a tender meaning,
That the eyes of love alone may see,
But the smiles that fill my life with sunshine,
Are the smiles that you give to me.
Dearie, when you smile,
Everything in life's worth while;
Love grows fonder as we wander,
Down each magic mile;
Cheery melodies,
Seem to float up on the breeze,
Doves are cooing while they're wooing,
In the leafy trees.
(to REFRAIN)
80434-R The Rose Of No Man's Land
I've seen some beautiful flowers,
Grow in life's garden fair.
I've spent some wonderful hours,
Lost in their fragrance rare.
But I have found another,
Wondrous beyond compare.
CHORUS:
There's a rose that grows on no-man's land,
And it's wonderful to see.
Though it’s sprayed with tears, it will live for years,
In my garden of memory.
It's the one red rose the soldier knows,
It's the work of the Master hand.
'Neath the War's great curse stands a Red Cross nurse,
She's the rose of no-man's land
Out of the heavenly splendour,
Down to the trail of woe.
God in his mercy has sent her,
Fearing the World below.
We call her Rose of Heaven,
We've longed to love her so.
(to CHORUS)
80434-L When The Ships Come Home
Life’s an ocean grim that has no charts;
And the ships that swim on it are hearts.
O’er that lonely sea far, far they roam;
But they’ve Love at the helm, and he will bring them home.
Yes, all the little ships come sailing home across the sea;
The weary journey ended, their way they’ve wended home where they would be.
They glide across an ocean bar, all dangers past.
And, two by two together, come sailing home at last.
(repeat)
Clouds may hide the skies and gales may blow;
Angry waves may rise, but on they go.
Filled each day may be with dangers new;
But they’ve Love at the helm, and he will guide them through.
Yes, all the little ships come sailing home across the sea;
The weary journey ended, their way they’ve wended home where they would be.
They glide across the bar, where no storms are, all dangers past.
And, two by two together, come sailing home at last.
(repeat)
80436-R Katy Mahone
In that little brown cottage that stands over there,
Dwells my sweet Katy Mahone;
With her beautiful nature and soul full of love,
Oh, she has my heart alone!
If ever you met her, Oh, then you'd not blame me,
For lovin' her as I do;
For who, in this world, has ever been known,
To resist love that's tender and true (and true)!
CHORUS:
Oh, Katy Mahone, I'm yours alone!
Why keep me waiting for you?
Give me your heart as well as your hand,
And I'll keep it safe for you, Katy!
Now Time may change all things, but never my heart;
It will remain the same,
And be not like the beautiful snow, when it falls,
To go with the very first rain!
But more like the beautiful ivy that creeps,
As around the old ruin it springs;
Time cannot efface it or lessen its love,
For the older, the closer it clings (it clings)!
(to CHORUS)
80436-L The Low-Back'd Car
When first I saw sweet Peggy,
'Twas on a market day;
A low-back'd car she drove, and sat,
Upon a truss of hay;
But when that hay was blooming grass,
And deck'd with flowers of Spring,
No flow'r was there that could compare,
To the blooming girl I sing.
As she sat in her low-back'd car,
The man at the turnpike bar,
Never ask'd for the toll, but just rubb'd his owld poll,
And looked after the low-backed car.
In battle's wild commotion,
The proud and mighty Mars,
With hostile scythes demands his tithes,
Of death - in warlike cars;
But Peggy, peaceful goddess,
Has darts in her bright eye,
That knock men down, in market-town,
As right and left they fly;
While she sits in her low-back'd car,
Than battle more dangerous far -
For the doctor's art cannot cure the heart,
That is hit from the low-back'd car.
Sweet Peggy round her car, sir,
Has strings of ducks and geese,
But the scores of hearts she slaughters,
By far outnumber these;
While she among her poultry sits,
Just like a turtle-dove,
Well worth the cage, I do engage,
Of the blooming god of love;
While she sits in her low-back'd car,
The lovers come near and far,
And envy the chicken that Peggy is pickin',
While she sits in her low-back'd car.
I'd rather own that car, sir,
With Peggy by me side,
Than a coach-and-four, and gold galore,
And a lady for me bride;
For the lady would sit forninst me,
On a cushion made with taste,
While Peggy would sit beside me,
With me arm around her waist;
As we drove in the low-back'd car,
To be married by Father Maher;
For me heart would beat high at her glance and her sigh,
Though it beat in a low-back'd car.
80465-R Beautiful Ohio
Long, long ago, someone I know
Had a little red canoe, in it room for only two.
Love found its start then in my heart,
And like a flower grew:
Drifting with the current down a moonlit stream,
While above the Heavens in their glory gleam,
And the stars on high,
Twinkle in the sky.
Seeming in a paradise of love divine,
Dreaming of a pair of eyes that looked in mine.
Beautiful Ohio, in dreams again I see
Visions of what used to be.
Drifting in the moonlight
While the Heavens gleam,
And the stars on high,
Twinkle in the sky.
Seeming deep in love,
Dreaming of your eyes,
Beautiful Ohio, in dreams again I see
Visions of what used to be.
Drifting in the moonlight
While the Heavens gleam,
And the stars on high
Twinkle in the sky.
Seeming deep in love,
Dreaming of your eyes,
Beautiful Ohio, in dreams again I see
Visions of what used to be.
80465-L Alabama Lullaby
I've heard lots of melodies,
Songs of quaintest harmonies,
But one refrain comes again and again,
To my mind that is the kind we love the best:
CHORUS:
Down in Alabama when the breeze begins to sigh,
Seems to softly murmur just the sweetest lullaby,
Each dear old Mammy in old Alabam',
Huddles and cuddles her own honey lam'.
"Little Pickanniny, close your eyes and go to sleep,
Moon am swingin' low and spooky shadows 'gin to creep,"
This melody brings a fond memory,
Takes me back again to dear old Alabam'.
80469-R A Dusky Lullaby
Come my little pickaninny,
It am time to leab' yo' play.
See da moon am rising slowly,
An' the sun have gone away.
An' da birds hab sung their eb'-nin' hymn,
An' am sleepin' in da nest.
An' yo' mammy wants to Lullaby,
Her darlin' chile to rest.
REFRAIN:
Lullaby, (Lullaby), Lullaby, (Lullaby),
Night am fallin' softly, [second time: softly fallin'] Lullaby,
Lullaby, (Lullaby), Lullaby, (Lullaby),
Mammy's pickaninny, Lullaby.
Mammy loves to rock her pickaninny,
In da good ol' fashion' way.
Loves to feel you on her bosom,
At the endin' of da day.
Now the quiet stars am a peepin',
Peepin' on ma sleepin' chile,
Sleepin' safely for the angels
Am a watchin' all da while.
(to REFRAIN)
80469-L The Glowworm
When the night falls silently,
The night falls silently on forests dreaming,
Lovers wander forth to see,
They wander forth to see the bright stars gleaming;
And lest they should loose their way,
Lest they should loose their way, the glowworms nightly
Light their tiny lanterns gay,
Their tiny lanterns gay and twinkle brightly.
Here and there, and ev'rywhere,
From mossy dell and hollow,
Floating, gliding through the air,
They call on us to follow!
REFRAIN:
Shine, little glowworm, glimmer,
Shine, little glowworm, glimmer!
Lead us, lest too far we wander,
Love's sweet voice is calling yonder!
Shine, little glowworm, glimmer,
Shine, little glowworm, glimmer!
Light the path, below, above,
And lead us on to Love!
Little glowworm, tell me pray,
Oh glowworm, tell me pray, how did you kindle,
Lamps that by the break of day,
That by the break of day, must fade and dwindle?
Ah, this secret, by your leave,
This secret, by your leave, is worth the learning!
When true lovers come at eve,
True lovers come at eve, their hearts are burning!
Glowing cheeks and lips betray,
How sweet the kisses tasted!
Till we steal the fire away,
For fear lest it be wasted!
(to REFRAIN)
80483-R (a) Little Tommy Went A Fishing (b) The Musical Trust
Little Tommy went a fishing,
On a very pleasant summer's day.
Little Tommy he was wishing,
Fish would bite not run, not run away.
But he didn't get a bite,
The fish, they wouldn't bite,
Little Tommy didn't catch one.
'Long came the minister home from church,
Passing by the babbling brook, the babbling brook.
He saw Tommy, luckless Tommy,
With his little fishpole and his hook,
His favorite hook.
Then said the minister,
Then said the minister:
"It's wrong to catch fish on Sunday,
Very wrong to catch fish on Sunday."
Then said Tommy, "Who's catching any fish?
Who's catching any fish?
Haven't had a bite all day,
Not a bite, not a bite.
Who's catching fish on Sunday?"
Now our next number is a story of four poor wandering musicians who meet as they go along the road and form a musical trust. Their trials and tribulations are set forth as follows:
There once was a man who could execute,
"Old Zip Coon" on a yellow flute,
And several other tunes to boot.
But he couldn't make a penny,
But he couldn't make a penny,
But he couldn't make a penny, make a penny, (make a penny)
With his tootle-de-toot-toot-toot.
One day he met a singular quaint old man,
With a big tuba,
Who said "I've traveled wide and far,
But I never made a penny with my oom-pah-pah,
(But I never made a penny with my oom-pah-pah)
(But I never made a penny with my oom-pah-pah)
Oom-pah, oom-pah, oom-pah-pah,
Although I've traveled wide and far,
But I haven't made a penny with my oom-pah-pah."
Then they met two men who were traveling,
With a big bass drum and a cymbal thing.
"Oh, sad we play since the early Spring,
But we haven't made a penny with our boom-zing-zing.
Boom-zing, boom-zing, boom-zing-zing.
Boom-boom-boom-boom, zing-zing.
Although we've played since early Spring,
We haven't made a penny with our boom-zing-zing."
So the man with the flute went tootle-de-toot,
And the other man he went oom-pah,
And the men with the drum and the cymbal thing,
Went Boom-boom-boom-boom, zing-zing.
And they traveled it wide and far.
Together they made the welkin ring,
With their tootle-tootle-toot, oom-pah, boom-zing-zing.
tootle-tootle-toot, oom-pah, tootle-tootle-toot, oom-pah,
boom-zing-boom-zing-boom-zing-zing.
And oh, the pennies the people bring,
When they hear the tootle, oom-pah, boom-zing-zing
tootle-tootle-toot, oom-pah, tootle-tootle-toot, oom-pah,
boom-zing-zing!
80483-L Out On The Deep
Out on the deep when the sun is low,
And the sea with splendor burns,
With his scaly spoil from his evening toil,
The fisher homeward turns.
And his oars flash bright, in the ocean light,
And he knows that eyes on shore,
Look out on the deep for his bright oar sweep;
And he sings as he swings his oar:
"A long sweep, lads, and a strong sweep, boys,
And a song as along we go.
For the hearts that yearn for our home return,
When the evening sun is low,
When the evening sun is low."
Out on the deep when the sun is dead,
And the first sweet star doth gleam,
Of a day that is dead, and a love that is fled,
The fisher oft will dream,
And he thinks, though far like that first bright star,
She is still beside as of yore,
And his oars gleam bright, in its sweet pale light,
And he sighs as he plies his oar:
"A slow sweep, lads, and a low sweep boys,
And a song as along we go.
For the star of Love that is bright above,
And its gleam in the wave below,
And its gleam in the wave below."
80489-R Home Sweet Home
'Mid pleasures and palaces
Though we may roam,
Be it ever so humble,
There's no place like home.
A charm from the skies
Seems to hallow us there,
Which seek through the world,
Is ne'er met with elsewhere.
Home, home, sweet, sweet home,
Be it ever so humble,
There's no place like home.
An exile from home,
Splendor dazzles in vain,
Oh, give me my lowly
Thatched cottage again;
The birds singing gaily,
That came at my call:
Give me them and that
Peace of mind, dearer than all.
Home, home, sweet, sweet home,
Be it ever so humble,
There's no place like home.
80489-L Calm as the Night
Calm as the night, deep as the sea,
Should be thy love for me.
Calm as the night and deep as the sea,
Should be thy love, should be thy love for me.
Should be thy love for me.
If love like mine glow in thy heart, I am forever thine.
Fervent as steel, and firm as the hills,
should be thy love, should be thy love for me.
Should be thy love for me.
80503-R Memories Of You In Dear Hawaii
Where the blue Pacific grows,
Where the bonnie breezes blow.
Where the sun is ever shining,
There my heart tells me to go (tells me to go).
Far from you I've wandered dear,
Separate now by land and sea.
Yet my thoughts are ever turning back,
I wonder if you think of me.
Memories of bliss and longing,
Come again oh happy days (oh happy days),
In my heart are ever thronging,
Memories of you in dear Hawaii.
Just a little word from you,
That is all I long to hear.
Just a line that you are waiting,
And to say I love you, dear (I love you, dear).
Then I'll wish for mighty wings,
Bearing me right back to you,
Back to where my heart has ever been,
With you forever, sweetheart true.
Memories of bliss and longing,
Come again oh happy days (oh happy days),
In my heart are ever thronging,
Memories of you in dear Hawaii.
80503-L By The Babbling Brook
Where the babbling brook is flowing,
All my sweetest thoughts are going,
In an endless chain to someone that I love,
How my heart is ever yearning.
All the happy days in Spring, when I'll hear the songbirds sing,
And say hello by the babbling brook.
REFRAIN:
Down by the babbling brook, the songbirds sing of you,
In every shady nook, there's love and romance true.
The merry chickadee, the meadowlark so free,
All tell so plaintively how I love you.
From out the clover bloom there comes a faint perfume,
Around the evening time when church bells sweetly chime.
The little nightingale starts singing in the vale,
Life seems a fairy tale by the babbling brook.
(repeat REFRAIN)
80506-R Smilin' Through
There's a little brown road windin' over the hill,
To a little white cot by the sea;
There's a little green gate at whose trellis I wait,
While two eyes o' blue come smilin' through at me!
There's a gray lock or two in the brown of the hair,
There's some silver in mine, too, I see;
But in all the long years when the clouds brought their tears,
Those two eyes o' blue kept smilin' through at me!
(repeat)
80506-L Baby Mine
I've a letter from thy sire, Baby mine, Baby mine;
I could read and never tire, Baby mine, Baby mine;
He is sailing o'er the sea,
He is coming back to me,
He is coming back to thee! Baby mine! Baby mine;
He is coming back to thee! Baby mine.
Oh, I long to see his face, Baby mine, Baby mine;
In his old accustomed place, Baby mine, Baby mine;
Like the rose of May in bloom,
Like a star amid the gloom,
Like the sunshine in the room, Baby mine! Baby mine;
Like the sunshine in the room, Baby mine.
I'm so glad, I cannot sleep, Baby mine, Baby mine;
I'm so happy, I could weep, Baby mine, Baby mine;
He is sailing o'er the sea,
He is coming back to me,
He is coming back to thee! Baby mine! Baby mine;
He is coming back to thee! Baby mine.
80512-R Columbia, The Gem Of The Ocean (Red, White, and Blue)
O, Columbia! the gem of the ocean,
The home of the brave and the free,
The shrine of each patriot’s devotion,
A world offers homage to thee.
Thy mandates make heroes assemble
When Liberty’s form stands in view.
Thy banners make tyranny tremble
When borne by the red, white and blue!
When borne by the red, white and blue!
When borne by the red, white and blue!
Thy banners make tyranny tremble
When borne by the red, white and blue!
When war wing’d its wide desolation,
And threatened the land to deform,
The ark then of freedom’s foundation,
Columbia rode safe thro’ the storm;
With her garlands of vict’ry around her
,
When so proudly she bore her brave crew,
With her flag proudly floating before her,
The boast of the red, white and blue!
The boast of the red, white and blue!
The boast of the red, white and blue!
With her flag proudly floating before her,
The boast of the red, white and blue!
The Star-Spangled Banner bring hither,
O’er Columbia’s true sons let it wave;
May the wreaths they have won never wither,
Nor its stars cease to shine on the brave.
May thy service, united, ne’er sever,
But hold to their colors so true.
The Army and Navy forever,
Three cheers for the red, white and blue!
Three cheers for the red, white and blue!
Three cheers for the red, white and blue!
The Army and Navy forever.
Three cheers for the red, white and blue!
80512-L Farewell Marguerite
Farewell, Marguerite,
Farewell, sweet dream of love.
I see again thy loving smile,
I hear thy gentle voice,
That could the darkest hour beguile,
And make my heart rejoice.
I see thee still as in the happy past,
And in my bosom tender memories dwell,
Bright hour of bliss that could not last,
Sweet Marguerite, farewell.
I know not if within the bounds of time,
We’ll meet again our mutual love to tell.
I hear the hour for parting chime,
Sweet Marguerite, farewell.
I hear the hour for parting chime,
Sweet Marguerite, sweet Marguerite, farewell.
And though in life we meet no more,
As in the happy past,
We’ll bless those blissful days of yore,
While life and time shall last.
Beyond the reach of every grief and pain,
Beyond life’s dark and stormy billowing swell.
Above life’s clouds we’ll meet again,
Sweet Marguerite, farewell.
I know not if within the bounds of time,
We’ll meet again our mutual love to tell.
I hear the hour for parting chime,
Sweet Marguerite, farewell, farewell.
80514-R When the Corn Is Waving
When the corn is waving, Annie dear,
O meet me by the stile,
(To hear) To hear thy gentle voice again,
And greet thy loving smile.
The moon will be at full, Love,
The stars will brightly gleam.
O come, my Queen of night, Love,
And grace the beauteous scene.
(When the corn) When the corn is waving, Annie dear,
O meet me by the stile,
(That I may hear) To hear thy gentle voice again,
And greet thy winning smile.
When the corn is waving, Annie dear,
Our tales of love we'll tell,
(Beside the gently flowing) Beside the gently flowing stream,
That both our hearts know well (our hearts know well.)
The wildflowers in their beauty (flowers in their beauty.)
Doth scent the evening breeze (doth scent the breeze.)
Oh haste! The stars are peeping,
And the moon's behind the trees.
(So when the corn is waving) When the corn is waving, Annie dear,
O meet me by the stile (meet me by the stile,)
(To hear thy gentle voice again) To hear thy gentle voice again,
And greet thy loving smile.
When the corn is waving,
When the corn is waving,
When the corn is waving,
When the corn is waving, Annie dear.
80514-L Aloha Sunset Land
Purple shadows play 'neath the koa trees,
Far o'er the western sea,
Homeland mine, oh how I yearn for thee.
Nightwinds bring the sweet ukulele,
Strumming its melody,
In my dreams, calling again to me.
Silver moonbeams light up the mountain peaks on high,
Baby stars are twinkling beneath the moth'ring sky.
Mem'ries bring dream pictures of childhood scenes so grand,
While my heart is crying for Sunset Land.
I love each rock and rill, I love each vale and hill,
Aloha 'oe, fair isle so grand.
Though o'er the seas I roam, in dreams I'll journey home,
Aloha Sunset Land.
Oahu, where mem'ries are golden,
I miss your coraled strand,
Isle of dreams, my own Hawaiian land.
Where the rippling waters are playing,
While sunbeams kiss the sea,
Could you know how my heart yearns for thee.
Daydreams bring the lilt of the birdlings song so gay,
Where wild daisies swayed by the tradewinds seem to play.
Though the years may lead me afar o'er oceans blue,
With each sunset, I will return to you.
I love each rock and rill, I love each vale and hill,
Aloha 'oe. fair isle so grand.
Though o'er the seas I roam, in dreams I'll journey home,
Aloha Sunset Land.
80519-R We Strongly Now Will Try Together-La Fille de Madame Angot
(Clairette - C, Ange Pitou - AP)
(C & AP) We strongly now will try together,
With might and main and all we may,
With one accord let us see whether,
We shall have pow'r to clear the way.
We strongly now will try together,
(C) With might and main and all we may,
(AP) Do our best and all we may,
(C & AP) We shall have pow'r to clear the way.
We strongly now will try together,
(C) With might and main and all we may,
(AP) Do our best and all we may,
(C & AP) We shall have pow'r to clear the way.
(C) Well, firstly I had best fall ailing.
(AP) Oh! But you seem quite otherwise, quite well!
(C) Then that won't do I dare to tell.
(AP) No, such a plan would sure be failing.
(C) No, no, no, that is not the way!
Madame Angot, Madame Angot would not do what you say!
(C & AP) Madame Angot, Madame Angot would not do what you say!
(AP) List now to what I am proposing:
Now should I kill this barber Pomponnet?
(C) Kill him, no! (AP) Come, what do you say?
So this my plan you are opposing?
(C) No, no, no, that is not the way!
Madame Angot, Madame Angot would not do what you say!
(C & AP) Madame Angot, Madame Angot would not do what you say!
(AP) But if you say to Pomponnet:
Sir your claim pray give up instanter,
Or you may find me turn Levanter,
No less, run away.
(C) Oh that! Never, no, no, no, trust me.
(AP) Alas! Alas! I'm afraid it must be!
(C) Feel certain quite never despair,
If nothing comes stopping this hated beau,
At the time when Monsieur the Mayor shall put the word,
I then with great care shall,
Instead of yes, answer him no.
(AP) You will say no? (C) I shall say no!
(AP) You will say no, you will say no!
(C) I shall say no!
(AP) Ah, dearest, I must embrace you,
Clever and crafty, naught can replace you!
(C) No, sir, please, you must not try,
I fear you'll think, think me sly.
(AP) Not in the least take my devotion,
I feel for you love and emotion,
Clairette, grant me kisses sweet,
Or I die now at your feet!
(C) No, no, don't attempt to touch me,
(AP) What's the harm in once embracing,
(C) Mind my dress, sir, should you clutch me,
(AP) 'Twould not be your dress defacing,
(C) I could grant you no kiss sweet,
(AP) Charming girl, give one kiss sweet,
(C) Though you're dying at my feet!
(AP) See, I'm dying at your feet!
(C) No, no, don't attempt to touch me,
(AP) What's the harm in once embracing,
(C) Mind my dress, sir, should you clutch me,
(AP) 'Twould not be your dress defacing,
(C) I could grant you no kiss sweet,
(AP) Charming girl, give one kiss sweet,
(C) Though you're dying at my feet!
(AP) See, I'm dying at your feet!
(AP) Yes, yes, yes, I must embrace you,
(C) No, no, don't attempt to touch me,
(AP) Yes, yes, yes, I must embrace you,
(C) No, no, don't attempt to touch me,
(C) I could grant you no kiss sweet,
(AP) Charming girl, give one kiss sweet,
(C) Though you're dying at my feet!
(AP) See, I'm dying at your feet!
(C) No, no, don't attempt to touch me,
(AP) Charming girl, give,
(C) Don't attempt to clutch me,
(AP) One kiss sweet,
(C) Don't, sir, don't attempt to touch me,
(AP) See me dying,
(C) I grant no kiss sweet,
(AP) At your feet,
(AP) Oh, grant me but one kiss,
(C) no, no, no, no
(AP) Oh, grant me but one kiss,
(C) no, no, no, no
(C) Don't, sir, I grant no kiss sweet,
(AP) Grant me, dear, but one kiss sweet,
(C) Though you're dying at my feet!
(AP) See me dying at your feet!
80519-L Annie Laurie
Maxwelton's braes are bonnie, where early falls the dew,
And it's there that Annie Laurie gave me her promise true.
Gave me her promise true, which ne'er forgot will be.
And for bonnie Annie Laurie, I'd lay, I'd lay me doon and dee.
I'd lay me doon and dee, I'd lay me doon and dee.
And for bonnie Annie Laurie, I'd lay me doon and dee.
Her brow is like the snowdrift, her throat is like the swan.
Her face it is the fairest that e'er the sun shone on.
That e'er (that e'er) the sun (the sun) shone on, (that e'er the sun shone on)
And dark (and dark) blue is (and dark blue) her e'e. (and dark blue is her e'e)
And for bonnie Annie Laurie, I'd lay me doon and dee.
I'd lay me doon and dee, (I'd lay me doon and dee)
I'd lay me doon and dee, (I'd lay me doon and dee) I'd lay me doon and dee.
Like dew on the gowan lying is the fall of her fairy feet,
And like winds in summer sighing, her voice is low and sweet.
Her voice is low and sweet, (low and sweet) and she's all the world to me (world to me)
And for bonnie Annie Laurie, I'd lay me doon and dee.
(I'd lay me doon and dee) I'd lay me doon and dee.
80520-R List! The Cherubic Host
List! the cherubic host,
in thousand choirs,
Touch their immortal harps of golden wires,
With those just spirits that wear victorious palms,
Singing everlastingly devout,
Devout and Holy palms.
(repeat)
And I heard the voice of harpers,
harping with their harps,
And they sang, as it were a new
song, before the throne,
before the throne,
And no man could learn that song.
But they, but they which were redeemed.
they require peace.
List! the cherubic host,
List! the cherubic host,
touch their immortal harps of golden wires,
their harps, their harps of golden wires.
List! the cherubic host,
List! the cherubic host,
touch their immortal harps of golden wires,
harpers harping, harping with their harps,
their harps of golden wires,
of golden, golden wires.
80520-L In The Garden
I came to the garden alone,
While the dew is still on the roses,
And the voice I hear falling on my ear
The Son of God discloses.
REFRAIN:
And He walks with me, and He talks with me,
And He tells me I am His own;
And the joy we share as we tarry there,
None other has ever known.
He speaks, and the sound of His voice
Is so sweet the birds hush their singing,
And the melody that He gave to me
Within my heart is ringing.
(to REFRAIN)
I’d stay in the garden with Him,
Though the night around me be falling,
But He bids me go; through the voice of woe
His voice to me is calling.
(to REFRAIN)
80524-R Singing To You
I am holding your hand in the dawn and the dew,
Singing to you, singing to you.
May God give you skies that are radiant with blue,
and the red of the rose with those shadows to lose.
So am I singing to you.
I am holding your hand with your future in view,
Singing to you, singing to you.
May God hold that hand when the love that was true,
Is lost to you and the daisies and dew.
So am I singing, singing to you,
So I am singing to you.
80581-R What A Friend We Have In Jesus
What a friend we have in Jesus,
All our sins and griefs to bear!
What a privilege to carry,
Everything to God in prayer!
O what peace we often forfeit,
O what needless pain we bear,
All because we do not carry,
Everything to God in prayer.
Have we trials and temptations?
Is there trouble anywhere?
We should never be discouraged;
Take it to the Lord in prayer.
Can we find a friend so faithful,
Who will all our sorrows share?
Jesus knows our every weakness;
Take it to the Lord in prayer.
Are we weak and heavy laden,
Cumbered with a load of care?
Precious Savior, still our refuge;
Take it to the Lord in prayer.
Do thy friends despise, forsake thee?
Take it to the Lord in prayer!
In his arms he'll take and shield thee;
Thou wilt find a solace there.
80581-L Yield Not To Temptation
Yield not to temptation, for yielding is sin;
Each victory will help you some other to win;
Fight manfully onward, dark passions subdue,
Look ever to Jesus, He will carry you through.
REFRAIN:
Ask the Savior to help you,
Comfort, strengthen and keep you;
He is willing to aid you,
He will carry you through.
(last time repeat REFRAIN)
Shun evil companions, bad language disdain,
God's Name hold in reverence, nor take it in vain;
Be thoughtful and earnest, kindhearted and true,
Look ever to Jesus, He will carry you through.
(to REFRAIN)
To him that o'ercometh, God giveth a crown;
Through faith we shall conquer, though often cast down;
He Who is our Savior our strength will renew;
Look ever to Jesus, He will carry you through.
(to REFRAIN)
80588-R Seek Ye The Lord - Anthem
Seek ye the Lord while he may be found;
Call ye upon him while he is near.
Seek ye the Lord while he may be found;
Call ye upon him while he is near.
Let the wicked forsake his way,
And the unrighteous man his thoughts,
And return unto the Lord,
Return unto the Lord.
And he will have mercy, and abundantly pardon;
He will have mercy, and abundantly pardon,
Abundantly pardon, abundantly pardon.
Seek ye the Lord while he may be found;
Seek ye the Lord, seek ye the Lord,
Call ye upon him while he is near.
Seek ye, oh, seek the Lord.
Seek ye the Lord while he may be found;
Seek ye the Lord, seek ye the Lord,
Call ye upon him while he is near.
While he is near.
Let the wicked forsake his way,
And the unrighteous man his thoughts,
And return unto the Lord,
And return unto the Lord.
And he will have mercy,
He will have mercy,
He will have mercy,
He will have mercy,
He will have mercy,
And abundantly pardon.
He will have mercy,
And abundantly pardon;
He will have mercy,
And abundantly pardon.
He will have mercy,
And abundantly pardon;
He will have mercy,
And abundantly pardon.
And pardon.
Amen.
80588-L Will There Be Any Stars?
I am thinking today of that beautiful land
I shall reach when the sun goeth down;
When through wonderful grace by my Savior I stand,
Will there be any stars in my crown?
CHORUS:
Will there be any stars, any stars in my crown
When at evening the sun goeth down? (goeth down)
When I wake with the blest in the mansions of rest,
Will there be any stars in my crown? (in my crown)
In the strength of the Lord let me labor and pray,
Let me watch as a winner of souls;
That bright stars may be mine in the glorious day,
When His praise like the sea billow rolls.
(to CHORUS)
Oh, what joy it will be when His face I behold,
Living gems at His feet to lay down;
It would sweeten my bliss in the city of gold,
Should there be any stars in my crown.
(to CHORUS)
80599-R Were My Song With Wings Provided
My song would fly, all unaided,
Toward thy garden at a word,
Were my song with wings provided,
Like to a bird!
Unto the air so confided,
Would thy chamber be its goal,
Were my song with wings provided,
Like to the soul.
To my heart anon ’twhere guided,
As to her nest flies a dove,
Were my song with wings provided,
were my song with wings provided,
Like unto love!
80599-R Serenata—I Wait Beneath Thy Window, Love
I wait beneath thy window, Love!
Now pale the stars in morning’s splendor.
For my sake, Wake! And from above
List to my song so devout and tender!
While thou in happy dreams hast slept
All through the night around thy dwelling,
Here I a loving watch have kept,
To the kind stars all my fond hopes telling.
O maiden hear me, and let my song,
Ah! Ah, Ah, oh, maiden mine
To thee belong!
Ah!
Now morning breaks, and day awakes,
Hear my last song before I leave thee;
Think what delight thy lover takes
In the visions that his fancy’s loom may weave thee!
Fare thee well, my love! Oh hear my prayer!
Joy and peace throughout the day attend thee!
Fare thee, oh, fare thee well, Oh my prayer!
Fare thee well, is my prayer.
80599-L Parted
Dearest, our day is over, ended, the dream divine.
You must go back to your life; I must go back to mine.
Back to the joyless duties, back to the fruitless tears.
Loving and yet divided all through the empty years,
How can I live without you? How can I let you go?
I that you loved so well, dear,
You that I worship so,
You that I worship so.
Dearest the night is passing, waneth the trembling moon,
Hark! How the wind ariseth. morn will be here so soon.
Tell me again you love me,
Kiss me on lips and brow.
Love of my soul, I love you,
How can I leave you now?
How can I live without you? How can I let you go?
I that you loved so well,
Dear, you that I worship so,
You that I worship so.
I that you loved so well,
Dear, you that I worship so.
80626-R That Old Irish Mother Of Mine
In my mind there's a beautiful picture,
That someone engraved on my heart,
When I was a wee little laddie,
On that island they call the Old Dart.
It's a picture that God gave to me,
Of my daddy's acushla macree.
CHORUS:
In her eyes there's the dew of Killarney,
On her cheek there's the rose of Kildare.
On her lips just a wee bit of Blarney,
And the snow of Athlone in her hair.
On a St. Patrick's morn she was cradled and born,
In her smile there's a light that's divine,
She's as sweet as the day she stole Dad's heart away,
That old Irish mother of mine.
It is always good luck and God bless you,
Each time that she bids you good-bye.
For a poor broken heart that's love hungry,
There's a sweet cheery smile in her eye.
When you gaze on that picture you see,
She's a mother and sweetheart to me.
(to CHORUS)
80626-L The Bard Of Armagh
O list to the strains of a poor Irish harper,
And scorn not the string from his poor withered hands.
Remember his fingers could once move more sharper,
To raise up the mem'ries of his dear native land.
At fair and at wake I could twist my shillelagh,
Or trip through the jig with my brogues bound with straw.
And all the pretty maids in the village around about me,
Loved the bold Phelim Brady, the Bard of Armagh.
And when Sergeant Death in his cold arms shall embrace me,
Oh lull me to sleep with sweet "Erin go Bragh."
By the side of my Kathleen, my young wife, oh place me,
Then forget Phelim Brady, the Bard of Armagh.
80643-R Nazareth
Tho' poor be the chamber,
Come here, come and adore;
Lo! the Lord of Heaven,
Hath to mortals given Life forevermore,
Life forevermore, Life forevermore.
Shepherds whose flocks were folded beside you.
Tell what was told by angel voices near:
"To you this night is born He who will guide you,
Thro' paths of peace to living water clear."
Tho' poor be the chamber,
Come here, come and adore;
Lo! the Lord of Heaven,
Hath to mortals given Life forevermore.
Wind to the cedars proclaim the joyful story,
Wave of the sea, the tidings bear afar.
The night is gone! Behold in all its glory,
All broad and bright rises th'eternal Morning Star.
Tho' poor be the chamber,
Come here, come and adore;
Lo! the Lord of Heaven,
Hath to mortals given Life forevermore,
Life forevermore, Life forevermore.
80643-L Silent Night
Silent night, peaceful night!
All things sleep, shepherds keep,
Watch on Bethlehem's silent hill,
And unseen, while all is still,
Angels watch above,
Angels watch above.
Bright the star shines afar,
Guiding trav'lers on their way,
Who their gold and incense bring,
Offerings to the promised King,
Child of David's line,
Child of David's line.
Light around! joyous sound!
Angel voices wake the air;
"Glory be to God in heav'n;
Peace on earth to you is giv'n,
Christ the Saviour is come,
Christ the Saviour is come."
80651-R Honey Babe
Honey, Babe, the moonlight am a'seepin' through the trees.
The jasmine scents am floating on the gently flowing breeze.
The banjos am a'chinking in the fields of sugarcane,
And Mammy keeps a'crooning while the moon am on the wane.
Hmm, close your little eyes.
Hmm, Mammy's little prize.
Rest so sweet and peaceful, till the morning when the sun
Comes peeping through the window, hush-a-bye, my little hon.
Hmm, rest your kinky head.
Hmm, Jesus in his bed.
Don't you mind it, Honey, that we ain't got lots of money,
Wait awhile, you'll see the sunshine, in the morning.
Honey Babe, I loves you, yes I loves you more, I should.
I loves you when you's naughty, and I loves you when you's good.
I loves you when you's happy, and I loves you when you's cross,
And when you's bad I spanks you, just to show that Mammy's boss.
Hmm, close your little eyes.
Hmm, Mammy's precious prize.
Rest so sweet and peaceful, till the morning when the sun
Comes peeping through the window, hush-a-bye, my little hon.
Hmm, rest your kinky head.
Hmm, Jesus in his bed.
Don't you mind it, Honey, that we ain't got lots of money,
Wait awhile, you'll see the sunshine, in the morning.
80651-L Little Pickaninny Kid
Little pickaninny kid, you sure are lookin' sad,
What those white brats gone and did to make you feel so bad?
Mammy here done call your name, you cried and answered back,
When they kept you from their game, 'cause your skin am black.
REFRAIN:
But don' you never cry no more, little kinky head.
Mammy knows you ain't so lily white,
You's a chocolate drop instead.
All the white folks ain't so white
As the good old preacher said.
You's an angel, and the Lord's gwina make you white someday.
Little pickaninny kid, you sure must be more brave,
Don' you know the good Lord came, the whole wide world to save?
Folks they treated him so mean, they hung him on a tree.
How you s'pose they gwina be better by you and me?
(to REFRAIN)
80667-R Love Sends A Little Gift Of Roses
Take thou my gift, my offering of roses,
Culled from my garden, sweet with twilight dew;
If just one flower upon your breast reposes,
Life shall forever hold no rose but you.
REFRAIN:
Love sends a little gift of roses,
Breathing a prayer unto my poses,
Torn from my heart as twilight closes,
Asking this, only this,
One heart to grow a little tender,
Two eyes to glow with love's own splendour,
Two lips to give in sweet surrender,
Just a kiss, just a kiss.
Take thou my gift, and be it joy or sorrow,
Think ere my roses, fade and fall apart;
With each sweet bloom that you may scorn tomorrow,
I send to you for joy or pain my heart.
(to REFRAIN)
80667-L The World Is Waiting For The Sunrise
Down in the lazy west rides the moon,
Warm as a night in June;
Stars shimmering soft in a bed of blue,
While I am calling and calling you.
Sweetly you are dreaming,
As the dawn comes slowly streaming;
Waken, Love, in your bower,
Greet our trysting hour.
Dear One, the world is waiting for the sunrise;
Every rose is heavy with dew.
The thrush on high, his sleepy mate is calling
And my heart is calling you!
(repeat)
80697-R The Garden of Sleep
On the grass of the cliff, at the edge of the steep,
God planted a garden - a garden of sleep!
'Neath the blue of the sky, in the green of the corn,
It is there that the regal red poppies are born!
Brief days of desire, and long dreams of delight,
They are mine when the Poppy-Land cometh in sight.
O! heart of my heart! Where the poppies are born,
I am waiting for thee, in the hush of the corn.
O! heart of my heart! Where the poppies are born,
I am waiting, am waiting for thee, in the hush of the corn.
In my garden of sleep, where red poppies are spread,
I wait for the living, alone with the dead!
For a tower in ruins stands guard o'er the deep,
At whose feet are green graves of dear women asleep!
Did they love as I love, when they lived by the sea?
Did they wait, as I wait, for the days that may be?
O! Life of my life! On the cliffs by the sea,
By the graves in the grass, I am waiting for thee!
O! Life of my life! On the cliffs by the sea,
By the graves in the grass, I am waiting, am waiting for thee!
80697-L Alice, Where Art Thou?
The birds sleeping gently,
Sweet Luna gleameth bright,
Her rays tinge the forest,
And all seems glad tonight,
The wind's sighing by me,
Cooling my fever'd brow;
The stream flows as ever,
Yet Alice, where art thou?
One year back this even,
And thou wert by my side,
And thou wert by my side,
Vowing thou wouldst love me,
One year past this even,
And thou wert by my side,
Vowing to love me, Alice,
What e'er betide.
The night dew was falling,
Just as it falleth now,
And all things slept gently,
Oh! Alice, where art thou?
I've sought thee by lakelet,
I've sought thee on the hill;
And in pleasant wild-wood,
When winds blew cold and chill.
I've sought thee in forest,
To heaven I'm looking now,
To heaven I'm looking now.
Oh! there, 'mid the starlight,
I've sought thee in forest,
To heaven I'm looking now,
Oh! there 'mid starlight, Alice,
There, I know, art thou.
80729-R Old Black Joe
Gone are the days when my heart was young and gay,
Gone are my friends from the cotton fields away,
Gone from the earth to a better land I know,
I hear their gentle voices calling "Old Black Joe."
REFRAIN:
I'm coming, I'm coming, for my head is bending low:
I hear those gentle voices calling, "Old Black Joe."
Where are the hearts once so happy and so free?
The children so dear that I held upon my knee?
Gone to the shore where my soul has longed to go.
I hear their gentle voices calling "Old Black Joe."
(to REFRAIN)
80729-L Smile Through Your Tears
Dear eyes, downcast, that fill my soul with longing,
Why are you sad and wet with unshed tears?
Tears are the dew that glistens on Love's roses,
Bringing new life and fragrance through the weary years.
REFRAIN:
Smile through your tears as sunlight smiles through rain,
Sorrow will pass and joy will come again.
Hope on forever though your eyes are wet,
Smile through your tears, Dear Heart, I never can forget.
Look up, dear eyes, where silver clouds are floating,
Spring buds are sleeping in the snow-clad trees.
Dead autumn leaves are bright with crimson glory,
Grey clouds of doubt can never come 'twixt you and me.
(to REFRAIN)
80757-R These Are They
These are they, these are they,
Which came out of great tribulation.
These are they which came out of great tribulation,
These are they which came out of great tribulation,
And have washed, have washed their robes,
And made them white in the blood of the Lamb.
And have washed their robes,
These, these are they.
Therefore are they before the throne of God,
And serve him day and night in his temple.
And they shall shine on the brightness of the firmament.
And as the stars, the stars forever,
Forever and ever, forever and ever,
Shine forever and ever,
Forever and ever, they shall shine forever,
Shine forever.
These are they which came out of great tribulation,
These are they which came out of great tribulation,
And have washed, have washed their robes,
And made them white in the blood of the Lamb.
These are they, these are they.
80757-L Rejoice Greatly
Rejoice, rejoice, rejoice greatly,
Rejoice, O daughter of Zion!
O daughter of Zion!
Rejoice, rejoice, rejoice!
O daughter of Zion!
Rejoice greatly, shout,
O daughter of Jerusalem;
Behold, thy king cometh unto thee,
Behold, thy king cometh unto thee, cometh unto thee.
He is the righteous Savior,
And he shall speak peace unto the heathen,
He shall speak peace, he shall speak peace,
Peace, he shall speak peace unto the heathen,
He is the righteous Savior,
And he shall speak, he shall speak peace,
Peace, He shall speak peace unto the heathen.
Rejoice, rejoice, rejoice greatly,
Rejoice greatly,
O daughter of Zion!
Shout, O daughter of Jerusalem!
Behold, thy king cometh unto thee,
Rejoice, rejoice,
And shout, shout, shout, shout,
Rejoice greatly.
Rejoice greatly, O daughter of Zion!
Shout, O daughter of Jerusalem!
Behold, thy king cometh unto thee,
Behold thy king cometh unto thee.
80759-R A Dream
Last night I was dreaming,
Of thee, Love, was dreaming.
I dreamed that thou didst promise,
We never should part.
While thy loved voice addressed me,
And soft hands caressed me,
I kissed thee and pressed thee once more to my heart,
I kissed thee and pressed thee once more to my heart.
I dreamed thou wert living,
My darling, my darling.
I dreamed that I held thee,
Once more to my breast.
While thy soft perfumed tresses,
And gentle caresses,
Thrilled me and stilled me, and lulled me to rest,
Thrilled me and stilled me, and lulled me to rest.
80759-L I Hear You Calling Me
I hear you calling me.
You called me when the moon had veiled her light,
Before I went from you into the night,
I came, do you remember? Back to you,
For one last kiss beneath the kind stars' light.
I hear you calling me, (I hear you calling me) I hear you calling me.
And oh, the ringing gladness of your voice.
The words that made my longing heart rejoice;
You spoke, do you remember? And my heart
Still hears the distant music of (the music of) your voice.
I hear you calling me.
Though years have stretched their weary length between,
And on your grave the mossy grass is green.
I stand, do you behold me? Listening here,
Hearing your voice through all the years between.
I hear you calling me (I hear you calling me).
80760-R The Gipsy's Warning
Do not trust him gentle lady, though his voice be low and sweet.
Heed not him who kneels before you, gently pleading at thy feet.
Now thy life is in it's morning, cloud not this thy happy lot.
Listen to the gipsy's warning, gentle lady trust him not.
Listen to the gipsy's warning, gentle lady trust him not.
Do not turn so coldly from me, I would only guard thy youth.
From his stern and withering power, I would only tell thee truth.
I would shield thee from all danger, save thee from the temper's snare.
Lady, shun that dark eyed stranger, I have warned thee, now beware!
Lady, shun that dark eyed stranger, I have warned thee, now beware!
Lady, once there lived a maiden, pure and bright, and like thee, fair.
But he wooed and wooed and won her, filled her gentle heart with care.
Then he heeded not her weeping, nor cared he her life to save,
Soon she perished, now she's sleeping, in the cold and silent grave.
Soon she perished, now she's sleeping, in the cold and silent grave.
Keep thy gold I do not wish it, lady, I have prayed for this.
For the hour when I might foil him, rob him of expected bliss.
Gentle lady, do not wonder, at my words though cold and wild.
Lady, in that grave, lays yonder, lies the gipsy's only child.
Lady, in that grave, lays yonder, lies the gipsy's only child.
80797-R Robin Hood Airs, No. 1
Come to the fair, to the fair!
Come to the fair, to the fair!
Come 'tis a day bright and rare!
Then hey for the merry greenwood? say I,
And give me a bow of yew;
Let mine be the life that is free from strife,
Where friends are stanch and true.
And it's will ye quaff with me, my lads,
And it's will ye quaff with me,
It is a draught of nut-brown ale,
I offer unto ye,
All humming in the tankard, lads,
It cheers the heart forlorn;
Oh, here's a friend to everyone,
'Tis stout John Barleycorn.
Yes, laugh, lads, and quaff, lads;
'Twill make you stout and hale, ah;
Through all my days, I'll sing the praise,
Of brown, October ale,
Of brown, October ale.
Come dream so bright,
My heart's delight,
Dreaming anew,
I find 'tis true.
Fair dost thou seem,
Beautiful dream.
At last I see thee,
My dream has come true.
'Tis very-very merry-merry journeymen we are,
All in the tinkering line, sirs;
We tramp-tramp-tramp the roadways near and far,
When the weather it be fine, sir.
Tink-tank, clink-clank tink-a-tank and clink-clank,
Hear our hammers ring.
When our trade is brisk, we frolic and we frisk,
As happy and gay as a king.
Oh promise me that some day you and I,
Will take our love together to some sky,
Where we can be alone and faith renew,
And find the hollows where the flowers grew,
Those first sweet violets of early spring,
Which come in whispers, thrill us both, and sing,
Of love unspeakable that is to be;
Oh promise me; Oh promise me!
Sail away, come away to the ...
Don't be late, don't be late to the life of the merry men.
Hip-hooray, men are gay ...
Farewell to thee, farewell my love, to thee.
Fare-thee-well to thee, fare-thee-well to thee,
Farewell, farewell to thee.
80797-L Robin Hood Airs, No. 2
Ho then for jollity,
Fun and frivolity;
Drink with avidity,
Banish timidity;
Try the experiment,
'Twill bring you merriment;
Try the experiment,
Ladies be gay.
Come what we may!
Let hammer on anvil ring,
And the forge fire brightly shine;
Let wars rage still, while I work with a will,
At this peaceful trade of mine, of mine,
At this peaceful trade of mine.
The sword is a weapon to conquer fields;
I honor the man who shakes it;
But naught is the lad who the broadsword wields,
Compared to the lad who makes it.
Let hammer on anvil go ring, ring, ring,
The forge fire brightly shine.
Clang, clang, clang!
Then huzzah for the anvil, the forge and the sledge;
Huzzah for the sparks that fly;
If I had a cup I would straightway pledge,
The armorer - that is I!
...
The King's command we must obey.
Yes, come what will and come what may,
The King's command all must obey.
...
There will come a time when you and I shall never part.
... king forevermore ...
... dearest bridegroom and bride ...
82033-R Home Sweet Home
Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home;
A charm from the sky seems to hallow us there,
Which, seek through the world, is ne'er met with elsewhere.
Home, home, sweet, sweet home!
There's no place like home, there's no place like home!
An exile from home, splendor dazzles in vain;
Oh, give me my lowly thatched cottage again!
The birds singing gaily, that came at my call,
Give me them with that peace of mind, dearer than all!
Home, home, sweet, sweet home!
There's no place like home, there's no place like home!
Home, home, sweet, sweet home!
There's no place like home, there's no place like home!
82033-L The Swallow
Where wilt thou go my agile little swallow?
Thy wings wilt tire if long thy flight should be.
If wind and storm should bring thee pain and anguish,
If seeking shelter none be found for thee?
(repeat)
Ah! Come to me a soft warm nest I offer,
Where all the wintry season will pass thee by.
For also I wander in regions so lonely,
Mid cold and tempest and have no wings to fly.
(repeat)
I leave the land that is to me beloved,
That gave me birth, for some bleak distant shore.
A poor, lone wand'rer mid sharp pain and anguish,
I leave my home and can return no more.
(repeat)
Thou cherished bird, thou pilgrim well beloved,
My heart draws near thee, o'er thee a watch doth keep.
Thy tender song falls on my ears so sadly,
Recalls my home and alas! I only weep.
82055-R Oh Holy Night
O holy night! The stars are brightly shining,
It is the night of the dear Savior's birth;
Long lay the world in sin and error pining,
Till He appeared and the soul felt its worth.
A thrill of hope the weary world rejoices,
For yonder breaks a new and glorious morn.
Fall on your knees! Oh! Hear the angel voices!
O night divine! O night when Christ was born,
O night divine! O night, O night divine!
Truly He taught us to love one another,
His law is love and His gospel is peace.
Chains shall he break for the slave is our brother,
And in His Name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we.
Let all within us praise His Holy Name.
Christ is the Lord, Him, ever, ever praise we.
His power and glory evermore proclaim,
His power and glory evermore proclaim.
82078-L Explanatory Talk - Charmant oiseau
David’s brilliant comic opera, “The Pearl of Brazil” was first performed in 1851. It was his first genuine operatic success, and for a time, was very popular. One of the most prominent of French composers, Félicien César David was born at Cadene, in the South of France, on April the 13th, 1810. Although his music is now seldom heard, he wrote much that is interesting and beautiful. He was one of the musicians who rendered the reign of Louis Philippe, the “Citizen King,” memorable, and his music, at the time, was immensely popular.
His father was a fellow musician, though an amateur, and Félicien, at least so it is said, showed his musical genius at the age of two, by shouts of approval at his father’s violin playing.
After three years in the Jesuit Collage at Aix, which he entered at 1825, David became assistant conductor of the Theatre there. He early continued his musical studies, and acquired some skill at violin playing. During all this time he was trying his hand at composition also. He went to Paris in 1830, and submitted specimens of his composition to Cherubini, among which was the famous “Beatus vir,” whereupon he was admitted to the Conservatoire.
After a sojourn in the East, David returned to Paris in 1835, and published a collection of “Mélodies Orientales.” This is said to be the first introduction of Orientalism in French music, a style that has since been used by so many writers. In spite of their beautiful, haunting melodies, these pieces met with a total neglect, and the disappointed composer left Paris for several years.
After many trials, David at last reaped the fruit of his years of toil and study; his symphonic ode, “Le Désert” in which he described in tonal pictures, his impressions and experiences in the east, was received at its first performance in the Conservatoire with enormous success and great applause. In 1839, having meanwhile produced his operas, “The Pearl of Brazil,” “Lalla Rookh,” and “Le Saphir ,” David was elected Académicien, taking Berlioz’s chair, succeeding him also as the Conservatoire librarian. He died at Saint-Germain-en-Laye on August 29, 1876.
Anna Case is a young American soprano, who has risen high in the musical world, with remarkable abilities. She has sung with many of the leading concert organizations, and during the season of 1913 and 14, was a prominent member of the Metropolitan Opera Company, New York City.
82139-R Come Unto Him
Come unto Him, all ye that labour,
Come unto Him, ye that are heavy laden,
And He will give you rest.
Come unto Him, all ye that labour,
Come unto Him, ye that are heavy laden,
And He will give you rest.
Take His yoke upon you, and learn of Him,
For He is meek and lowly of heart,
And ye shall find rest,
And ye shall find rest unto your souls.
Take His yoke upon you, and learn of Him,
For He is meek and lowly of heart,
And ye shall find rest,
And ye shall find rest unto your souls.
82139-L There's A Beautiful Land On High
There's a beautiful land on high,
To its glories I fain would fly,
When by sorrows pressed down, I long for a crown,
In that beautiful land on high.
When by sorrows pressed down, I long for a crown,
In that beautiful land on high.
There's a beautiful land on high,
And though here I oft weep and sigh,
My Jesus hath said, that no tear shall be shed,
In that beautiful land on high.
My Jesus hath said, that no tears shall be shed,
In that beautiful land on high.
In that beautiful land I'll be,
From earth and its cares set free,
My Jesus is there, he has gone to prepare
A place in that land for me.
82145-R There's A Long, Long Trail
Nights are growing awfully lonely,
Days are very long;
I'm a-growing weary only
Listening for your song.
Old remembrances are thronging,
Thro' my memory.
Till it seems the world is full of dreams,
Just to call you back to me.
CHORUS:
There's a long, long trail a-winding
Into the land of my dreams,
Where the nightingales are singing
And the white moon beams.
There's a long, long trail (2nd time: night) of waiting
Until my dreams all come true;
Till the day when I'll be going down
That long, long trail with you.
All night long I hear you calling,
Calling sweet and low;
Seem to hear your footsteps falling,
Everywhere I go.
Though the road between us stretches
Many a weary mile,
I forget that you're not with me yet
When I think I see you smile.
(to CHORUS)
82145-L Freedom For All Forever
Hark! in the street there's the tramp of feet,
See there's the flag on high!
Oh! how can we tell of the hearts that swell
As the troops go marching by!
There's a song on the air which the boys all share
As they shoulder to shoulder fight,
It's a song of Love and Liberty,
Sounding the might of Right!
CHORUS:
Let the call go forth through the whole wide world,
Freedom for all forever!
Over land and over sea
Peace and lasting Liberty!
Pray, pray for the Allied lands!
Aid, aid with your heart and hands;
Fight, fight till your proud flag stands
For "Freedom for all forever."
(first time repeat CHORUS)
Oh! listen all, who have freedom known,
Cling to the watch-word true!
Oh! what could we say on a future day
If our part we failed to do?
When the cannon's roar is heard no more,
And the strife and the danger passed,
In a world of Love and Liberty.
There shall be Peace at last!
(to CHORUS)
82149-R Keep The Home Fires Burning
They were summoned from the hillside,
They were called in from the glen,
And the Country found them ready,
At the stirring call for men.
Let no tears add to their hardship,
As the Soldiers pass along,
And although your heart is breaking,
Make it sing this cheery song:
REFRAIN:
Keep the home fires burning,
While your hearts are yearning,
Though your lads are far away,
They dream of Home;
There's a silver lining,
Through the dark cloud shining,
Turn the dark cloud inside out,
Till the boys come Home.
Over seas there came a pleading,
"Help a Nation in distress!"
And we gave our glorious laddies,
Honor bade us do no less (do no less, do no less).
For no gallant Son of Freedom.
To a tyrant's yoke should bend,
And a noble heart must answer,
To the sacred call of "Friend!" (Ah ...)
(to REFRAIN)
82149-L Laddie In Khaki
There is a girl who waits at home,
Who's full of charm and grace,
Though her heart is saddened--yet,
She keeps a smiling face.
Ask her whom she's thinking of,
All the livelong day,
With a smile that lights her face,
She will softly say:
CHORUS:
"Laddie in Khaki, I'm waiting for you,
I want you to know, that my heart beats true;
I'm longing and praying, and living for you,
So come back little Laddie in Khaki!"
Just be brave a little while,
He'll come to you again.
You'll forget the weary days,
And you'll forget the pain.
He'll be proud of all the courage,
You have shown today;
He'll make you forget the time,
When you used to say:
(to CHORUS)
82163-R My Ain Folk
Far frae my hame I wander;
But still my thoughts return,
To my ain folk over yonder,
In the sheiling by the burn.
I see the cosy ingle,
And the mist abune the brae,
And joy and sadness mingle,
As I list some auld-warld lay.
And it's oh! but I'm longing for my ain folk,
Tho' they be but lowly, puir and plain folk.
I am far across the sea, but my heart will ever be,
At hame in dear old Scotland with my ain folk.
A bonnie lass is greeting,
Tho' she strives to stay the tears;
Ah! sweet will be our meeting,
After mony weary years.
Soon my fond arms shall enfold ye,
As I ca' you ever mine,
Still abides the love I told ye,
In the days of auld lang syne.
And it's oh! but I'm longing for my ain folk,
Tho' they be but lowly, puir and plain folk.
I am far across the sea, but soon again I'll be,
At hame in dear old Scotland with my ain folk.
82163-L Believe Me If All Those Endearing Young Charms
Believe me if all those endearing young charms,
Which I gaze on so fondly today,
Were to change by tomorrow and fleet in my arms,
Like fairy gifts fading away,
Thou wouldst still be adored as this moment thou art,
Let thy loveliness fade as it will,
And around the dear ruin each wish of my heart,
Would entwine itself verdantly still.
It is not while beauty and youth are thine own,
And thy cheeks unprofaned by a tear,
That the fervour and faith of a soul can be known,
To which time will not make thee more dear.
No, the heart that truly loves never forgets,
But as truly loves on to the close,
As the sunflower turns on her god when he sets,
The same look that she gave when he rose.
82171-R Silent Night
Silent night, holy night,
All is calm, all is bright;
Round yon Virgin Mother and child!
Holy Infant, so tender and mild,
Sleep in heavenly peace,
Sleep in heavenly peace.
Silent night, holy night,
Shepherds quake at the sight;
Glories stream from heaven afar,
Heav'nly hosts sing, Alleluia!
Christ, the Savior, is born!
Christ, the Savior, is born!
Silent night, holy night,
Son of God, love's pure light;
Radiant beams from Thy holy face,
With the dawn of redeeming grace,
Jesus, Lord, at Thy birth,
Jesus, Lord, at Thy birth.
82171-L O Holy Night
O holy night! The stars are brightly shining,
It is the night of the dear Savior's birth;
Long lay the world in sin and error pining,
Till He appeared and the soul felt its worth.
A thrill of hope the weary world rejoices,
For yonder breaks a new and glorious morn.
Fall on your knees! Oh! Hear the angel voices!
O night divine! O night when Christ was born,
O night divine! O night, O night divine!
Truly He taught us to love one another,
His law is love and His gospel is peace.
Chains shall he break for the slave is our brother,
And in His Name all oppression shall cease.
Sweet hymns of joy in grateful chorus raise we.
Let all within us praise His Holy Name.
Christ is the Lord, Him, ever, ever praise we.
His pow'r and glory evermore proclaim,
His pow'r and glory evermore proclaim.
82198-L Drink To Me Only With Thine Eyes
Drink to me only with thine eyes,
And I will pledge with mine.
Or leave a kiss within the cup,
And I'll not ask for wine.
The thirst that from the soul doth rise,
Doth ask a drink divine.
But might I of Jove's nectar sip,
I would not change for thine.
I sent thee late a rosy wreath,
Not so much honoring thee,
As giving it a hope that there,
It could not withered be.
But thou thereon didst only breathe,
And sent'st it back to me,
Since when it grows and smells I swear,
Not of itself but thee.
82221-R Give A Man A Horse He Can Ride
Give a man a horse he can ride,
Give a man a boat he can sail,
And his rank and wealth, his strength and health,
On sea nor shore shall fail.
Give a man a horse he can ride,
Give a man a boat he can sail,
And his rank and wealth, his strength and health,
On sea nor shore shall fail!
Give a man a pipe he can smoke,
Give a man a book he can read,
And his home is bright with a calm delight,
Though the room be poor indeed.
Give a man a pipe he can smoke,
Give a man a book he can read,
And his home is bright with a calm delight,
Though the room be poor indeed.
Give a man a girl he can love,
As I, oh my love, love thee,
And his heart is great with the pulse of Fate,
At home, on land, on sea,
Give a man a girl he can love,
As I, my love, love thee,
And his heart is great with the pulse of Fate,
At home, on land, on sea!
(repeat last verse)
82221-L Thy Troubadour
Far 'mid the sweet acacia bloom,
Back in sunny Spain;
Gay troubadour in twilight gloom,
Sings a loving strain;
His lute throbs pleadingly of his love,
And gently stirs the maid above.
Thy troubadour whose love is pure,
Is waiting 'neath thy lattice for a smile;
From every star that gleams afar,
Come sweetest dreams thy slumbers to beguile;
Each vision tells the love that dwells,
Within this heart and ever shall endure,
Dear, ope' thine eyes to light my skies,
And shed thy smile upon thy troubadour.
Clear break the love notes on her dream,
Heart responds to heart.
Waking, she lists with eyes a-gleam,
Eager lips apart;
And blushing timidly then she throws,
At lover's feet a crimson rose.
Each vision tells the love that dwells,
Within this heart and ever shall endure,
Dear, ope' thine eyes to light my skies,
And shed thy smile upon thy troubadour.
82310-R Twilight Dreams Are Dreams Of You
Purple shades of night are falling,
As I sit and dream of you,
In my dreams I hear you calling,
And my heart is calling too.
Tenderly I press you to me,
Oh it's heaven while you're near.
But with the dawn you seem to vanish,
Leaving memories so dear.
CHORUS:
In twilight dreams, Dear,
I have visions sweet of you,
Lasting all the long night through,
And wishing you were here to make them all come true.
Night and day I'm thinking of you.
If you ask the stars above you,
They will tell you how I love you,
Twilight dreams, are dreams of you.
Through the fields we roamed in childhood,
Lovers, sweethearts, you and I,
And I told you 'neath the wildwood,
That I'd love you till I die.
But our ways have long since parted,
Destiny has willed it so.
And since you left me brokenhearted,
Twilight dreams are all I know.
(to CHORUS)
82310-L Bye And Bye You Will Forget Me
Bye and bye you will forget me,
When my face is far from thee;
And the day when first you met me
Only lives in memory.
For, 'mid other scenes and pleasures,
Nearer joys my heart shall sway,
And my love, like childish measures,
Will be tossed and thrown away.
CHORUS:
Sweet the hour when first I met you,
Sad the hour my lips shall say,
Bye and bye you will forget me,
Bye and bye when far away (far away).
Bye and bye you will forget me,
When our dream of love is o'er;
And the voice that used to pet me
At my side is heard no more.
Lonely then I'll sit and ponder,
And my quivered lips shall say
Bye and bye you will forget me,
Bye and bye when far away.
(to CHORUS)
82516-R Anvil Chorus
See how the shadows of night are flying!
Morn breaketh, heaven's glorious arch unveiling;
Like a young widow, who weary of sighing,
Lays by her garments of sorrow and wailing.
Rouse up to labor! Take each his hammer!
Who makes the gipsy's a life with pleasure laden?
Who makes the gipsy's a life with pleasure laden?
Who? Who?
The a gipsy's life a song?
Who makes his life one with pleasure laden?
The gipsy maiden!
Fill me a bumper;
both arm and hand
New strength and courage draw from flowing beakers.
See how the sunlight, radiantly glowing,
Borrows new beams from our wine-cups o'er-flowing!
Resume our labor!
Who makes the gipsy's a life with pleasure laden?
Who makes the gipsy's a life with pleasure laden?
Who? Who?
The gipsy's life a song?
The gipsy maiden!
The gipsy maiden!
The gipsy maiden!
Fill me a bumper;
both arm and hand
New strength and courage draw from flowing beakers.
See how the sunlight, radiantly glowing,
Borrows new beams from our wine-cups o'er-flowing!
Resume our labor!
Who makes the gipsy's a life with pleasure laden?
Who makes the gipsy's a life with pleasure laden?
Who? Who?
The gipsy's life a song?
The gipsy maiden!
The gipsy maiden!
The gipsy maiden!
The gipsy maiden!
82516-L Miserere
(Chorus): Pray that peace may attend a soul departing,
Whither no care or thought of earth can follow;
Heav'nly mercy allays the pangs of parting,
Look up, beyond this life's delusions hollow.
(Leanora): What voices of terror! For whom are they praying?
With omens of fear unknown they darken the air.
New horrors assail me, my senses are straying,
My vision is dim, is it death that is near?
Ah is it death, is't death that is near?
(Troubadour): Ah! Send thy beams, Aurora,
Light me to early death,
Waft her my longing,
Waft her my latest breath!
I leave thee, Leonora, ah, I leave thee
(Leonora): oh heav'n! I am distracted!
(Chorus): Pray that peace may attend a soul departing,
Whither no care or thought of earth can follow;
Heav'nly mercy allays the pangs of parting,
Look up, beyond this life's delusions hollow.
(Leonora): Oh night full of anguish,
(Chorus): Heav'n have mercy
what will be the ending?
on thy spirit!
With lowering pinion
Heav'n have mercy
destruction is near!
on thy spirit,
Oh gloomy foreboding,
Heav'n have mercy
his doom is impending,
We meet not again till his death knell I hear,
Not till his death knell, his knell I hear.
on thy spirit!
(Troubadour): Though here on earth we sever,
Thou wilt remember me:
In realms above, there I will wait for thee,
Leonora mine, we shall not part forever!
(Leonora): Forget thee can I never!
(Troubadour): Tho' here on earth we sever,
(Chorus): Heav'n have mercy
I'm thine, I'm thine forever
Thou wilt remember me,
on thy spirit,
I am thine forever,
In realms above,
Heav'n have mercy
I am thine forever,
There I will wait for thee,
Forevermore I'm thine,
We part, but not forever,
on thy spirit,
Forget thee can I never!
Tho' here on earth we sever,
Heav'n have mercy
I'm thine, I'm thine forever,
Thou wilt remember me!
on thy spirit,
I'm thine forever, I'm thine forever,
In realms above, there I will wait for thee,
Heav'n have mercy
Forevermore I'm thine,
We part, but not forever,
on thy spirit,
I am thine forever, I'm thine forever, I'm thine!
Leonora mine!
Heav'n have mercy on thy soul!
82534-R The Two Grenadiers
To France were returning two grenadiers.
In Russia they had been taken.
And when they came to the German frontiers,
Their courage was sadly shaken.
'Twas there that they both heard the sorrowful tale,
That France's proud realm had been shaken.
Defeated and scattered the valiant host,
And the Emperor, the Emperor been taken!
How bitterly wept then the grenadiers,
At hearing the terrible story,
And then one said, "Alas! once more,
My wounds are bleeding and gory."
The other said, "My son is dead.”
With thee I would die gladly,
But I've a wife and child at home.
Without me they'd fare badly.
"But what is the wife and what is the child?
A heavier care has arisen.
Let them beg or pray if they hungry are.
My Emperor lies in a prison."
"Oh, grant me, brother, but one prayer,
If my hours I now must number:
Take with thee my bod’ to my native land.
In France let me seek holy slumber.
"My cross of honor with ribbon arrayed,
Then on my bosom place thou.
Give me my musket in my hand.
My sword around me drape thou.
"Thus will I listen and lie so still,
And watch like a guard o’er the forces,
Until the roaring of cannon I hear,
And tramping of neighing horses.”
"Then over my grave will my Emperor ride,
While swords gleam brightly and rattle,
While swords gleam brightly and rattle.
Then on to the keep will I ride from the grave,
For my Emperor, my Emperor to battle."
82534-L Explanatory Talk - The Two Grenadiers
I should like to start by telling you something of the tragic life of Robert Schumann, who composed The Two Grenadiers, but I am afraid I would have to find too much time. The composer’s career was so eventful, so interesting, that I shall leave it to you, to read over his biography in the pages. Schumann’s music itself is almost an autobiography, for we do not have to hear many of his songs, to realize how darkened his life was with storm clouds. Schumann’s courtship alone, while not great to tremendous first appearance, that fate always seemed to require of him, before yielding anything to his ambitions.
In 1836, when 26 years old, the young composer fell deeply in love with Clara Wieck, daughter of his piano teacher, and herself destined to become one of the greatest pianists of her time. Schumann was a romantic dreamer, devoted to art, but not a good prospective son-in-law from the point of view of the girl’s father. Schumann did his best to improve his world prospects, but although he soon established a comfortable income, the parent’s consent was still refused. At last, according to the German custom, the case was taken before the court. But it was not until 1840, that it was decided in favor of the young couple.
The Two Grenadiers is probably the most universally loved of all Schumann’s songs. It is a stirring, patriotic ballad, one of Heine’s romances, which Schumann set to music of extreme dramatic strength, spirit and pathos. Each stanza the music changes, so as to closely follow the mood of the text. The first is a military narrative, straight forward, learned and marshalled. Then in the second comes the bad news of the French misfortune in war, and on a somber yet manly tone of sadness with his friend in the news. Then we hear the brooding army carrying the words of the old soldiers.
With the fleeting lines complete from the first grenadier rises steadily to a perfect frenzy of despair. Who cares for wife and child, when the Emperor is taken? Then follows the desire that he may be buried in France, with his musket beside him. And then players march The Marseillaise, most magnificent of all patriotic anthems.
Throughout all the mass portions, The Marseillaise is heard, and at the very last, we hear the quiet, organ-like chords, suggesting the depth of eternal rest of the old soldier. It is useless to play such a song, for all playing must sound cheap and dispiritous that apply to it.
Arthur Middleton is an American singer, whose early career made him prominent on the concert and oratorio stage. In 1913, he was engaged by the Metropolitan Opera Company, of which he recently became a leading member. He is still a young man, and his future is considered decidedly promising.
82536-R Ave Maria
Ave Maria, gratia plena,
Dominus tecum, benedicta tu
in mulieribus et benedictus
fructus ventris tui, Jesus.
Sancta Maria, Sancta Maria, Maria!
Ora pro nobis, nobis peccatoribus,
nunc et in hora, in hora mortis nostræ.
Amen! Amen!
82536-L (Explanatory Talk)
Ave Maria, Mighty and lowly,
Pure and most holy,
Hear from thy starry throne our prayer:
Though faithless friends may grieve us,
Wealth and fortune leave us,
Grant to our grief and to our pain thy tender care.
When we are tearful, when we are fearful,
Give to us thine aid, thine aid of prayer.
These are the English words, a free translation of the Latin text of the Ave Maria as sung by Marie Rappold on this record. This beautiful sacred song has always been considered a great musical masterpiece. It consists of an air found in the first prelude of Johann Sebastian Bach, adapted as a setting for an anthem by the great French master, Charles Gounod. Bach's prelude has been severely criticized. Many think unjustly so. It is termed a sequence of arpeggio chords, deducted from each other in harmonious series, containing hardly any musical thought, still less passion, and lacking what every modern ear must miss.
Gounod, in adapting it for his Ave Maria, has filled up these gaps. Gounod stated, however, that in utilizing this prelude as accompaniment to his religious melody, he had no irreverent intention of trying to improve on the Master of masters. He would rather have torn up the composition with his own hands, than be accused of such a sacrilege.
The piece is arranged here first as violin solo, and then soprano solo with violin obligato, thus giving the two great artists who have rendered it full opportunity to show their wonderful skills.
Marie Rappold has sung with the Metropolitan Opera House, New York City, the lighter dramatic roles falling to her lot. Not only is she one of our well-known operatic singers, but she has attained considerable fame on the concert stage with the Boston Symphony Orchestra and others.
Albert Spalding, the young American violinist who has created a sensation in Paris, Berlin, and other European capitals, was born in Chicago, Illinois, in 1888. As a very young child he showed remarkable fondness for music. He would sit for hours listening to his mother, a fine singer and accomplished musician. At seven he asked for a violin, and quickly astonished his parents by his wonderful aptitude for the instrument. He made his first public appearance when but ten years old, before the Duke and Duchess of Connaught. The young musician's success has been confined to no one country, no one city. For the same eulogistic report has come from almost all the great musical centers of the world.
82554-R The Lost Chord
Seated one day at the organ, I was weary and ill at ease,
And my fingers wandered idly over the noisy keys;
I know not what I was playing, or what I was dreaming then,
But I struck one chord of music like a sound of a great Amen,
Like a sound of a great Amen
It flooded the crimson twilight like the close of an Angel's Psalm,
And it lay on my fevered spirit with a touch of infinite calm.
It quieted pain and sorrow like love overcoming strife,
It seemed the harmonious echo from our discordant life.
It linked all perplexed meanings into one perfect peace
And trembled away into silence as if it were loth to cease;
I have sought, but I seek it vainly, that one lost chord divine,
Which came from the soul of the organ and entered into mine.
It may be that Death's bright Angel will speak in that chord again;
It may be that only in Heaven I shall hear that grand Amen!
It may be that Death's bright Angel will speak in that chord again;
It may be that only in Heaven I shall hear that grand Amen!
82554-L The Rosary
The hours I spent with thee, dear heart,
Are as a string of pearls to me;
I count them over, every one apart,
My Rosary, my Rosary.
Each hour a pearl, each pearl a prayer,
To still a heart in absence wrung;
I tell each bead unto the end,
And there a cross is hung!
O memories that bless and burn!
O barren gain and bitter loss!
I kiss each bead and strive at last to learn,
To kiss the cross, sweetheart!
To kiss the cross.
83042-R The Trumpet Shall Sound
Behold, I tell you a mystery;
We shall not all sleep,
But we shall all be changed in a moment,
In the twinkling of an eye, at the last trumpet.
The trumpet shall sound,
And the dead shall be raised,
And the dead shall be raised incorruptible.
The trumpet shall sound,
And the dead shall be raised,
Be raised incorruptible;
Be raised incorruptible.
And we shall be changed,
And we shall be changed.
The trumpet shall sound,
The trumpet shall sound,
And the dead shall be raised,
Be raised incorruptible,
Be raised incorruptible.
And we shall be changed, be changed,
And we shall be changed,
And we shall be changed,
We shall be changed,
And we shall be changed.
And we shall be changed,
And we shall be changed,
We shall be changed,
And we shall be changed,
We shall be changed.
83042-L I Know That My Redeemer Liveth
I know that my Redeemer liveth,
And that He shall stand,
At the latter day,
Upon the earth.
I know that my Redeemer liveth.
And though worms destroy this body,
Yet in my flesh shall I see God,
Yet in my flesh shall I see God, shall I see God.
I know that my Redeemer liveth.
For now is Christ risen from the dead,
The first fruits of them that sleep, of them that sleep,
The first fruits of them that sleep.
For now is Christ risen,
For now is Christ risen from the dead,
The first fruits of them that sleep.
83059-R Annie Laurie
Maxwelton's braes are bonnie,
Where early fa's the dew,
And 'twas there that Annie Laurie,
Gave me her promise true.
Gave me her promise true,
Which ne'er forgot will be,
And for bonnie Annie Laurie,
I'd lay me doon and dee.
Her brow is like the snowdrift,
Her throat is like the swan,
And her face it is the fairest,
That e'er the sun shone on.
That e'er the sun shone on.
And dark blue is her e'e,
And for bonnie Annie Laurie,
I'd lay me doon and dee.
83059-L Old Folks At Home
Way down upon the Swanee river,
Far, far away,
There's where my heart is turning ever,
There's where the old folks stay.
All up and down the whole creation,
Sadly I roam,
Still longing for the old plantation,
And for the old folks at home.
CHORUS:
All the world am sad and dreary,
Everywhere I roam,
Oh! darkies how my heart grows weary,
Far from the old folks at home.
All round the little farm I wandered,
When I was young,
Then many happy days I squandered,
Many the songs I sung.
When I was playing with my brother,
Happy was I,
Oh! take me to my kind old mother,
There let me live and die.
(to CHORUS)
83064-R Cradle Song 1915
Tears must fall, eyes must weep!
While my song I sing, Little one, Sleep!
You and I are all alone,
I have only you.
Father’s love you never have known,
Mother must love for two.
Father heard his country’s call,
Heard the stern command;
Soldiers brave must fight and fall
For their native land.
They must leave their loved ones all
In the Saviour’s hand.
Sleep, darling sleep!
Father lies upon the plain
He is sleeping too.
Mother’s heart must bear the pain,
Heaven has sent her you.
Over your bed a snow-white dove
Watches the long night through.
Brought a message of hope and love
From the starry blue,
That someday in heaven above
He will meet us two.
Eyes must weep
While my song I sing,
Little one sleep and rest.
83064-L Home, Sweet Home
'Mid pleasures and palaces though we may roam,
Be it ever so humble, there's no place like home.
A charm from the skies seems to hallow us there,
Which seek through the world, is ne'er met with elsewhere.
Home, home, sweet, sweet home,
There's no place like home, there's no place like home.
How sweet 'tis to sit 'neath a fond father's smile,
And the caress of a mother to soothe and beguile!
Let others delight mid new pleasures to roam,
But give me, oh, give me, the pleasures of home.
Home, home, sweet, sweet home
But give me, oh, give me, the pleasures of home.
83073-R Little Boy Blue
The little toy dog is covered with dust,
But sturdy and staunch he stands;
The little toy soldier is red with rust,
And his musket moulds in his hands.
Time was when the little toy dog was new,
And the soldier was passing fair,
And that was the time when our Little Boy Blue,
Kissed them and put them there.
"Now, don't you go till I come," he said,
"And don't you make any noise!"
So toddling off to his trundle bed,
He dreamt of the pretty toys.
And as he was dreaming, an angel song,
Awakened our Little Boy Blue,
Oh, the years are many, the years are long,
But the little toy friends are true!
Ay, faithful to Little Boy Blue they stand,
Each in the same old place.
Awaiting the touch of a little hand,
The smile of a little face.
And they wonder, as waiting these long years through,
In the dust of that little chair,
What has become of our Little Boy Blue,
Since he kissed them and put them there.
83073-L (a) Mighty Lak' A Rose
Sweetest little fellow,
Everybody knows;
Don't know what to call him,
But he's mighty lak' a rose!
Looking at his Mommy,
With eyes so shiny blue,
Make you think that heav'n,
Is coming close to you!
When he's there a-sleeping,
In his little place,
Think I see the angels,
Looking through the lace.
When the dark is falling,
When the shadows creep,
Then they come on tiptoe,
To kiss him in his sleep.
Sweetest little fellow,
Everybody knows;
Don't know what to call him,
But he's mighty lak' a rose!
Looking at his Mommy,
With eyes so shiny blue,
Make you think that heav'n,
Is coming close to you!
An angel, robed in spotless white,
Bent down and kissed the sleeping night.
Night woke to blush; the sprite was gone.
Men saw the blush and called it dawn.
Dawn, Dawn. Dawn. Dawn!
83076-R O Divine Redeemer!
Ah! turn me not away, receive me, though unworthy!
Ah! turn me not away, receive me, though unworthy!
Hear Thou my cry, hear Thou my cry, behold Lord, my distress!
Answer me from Thy throne, haste Thee, Lord, to mine aid,
Thy pity show in my deep anguish, thy pity show in my deep anguish!
Let not the sword of vengeance smite me, though righteous Thine anger, O Lord!
Shield me in danger! O regard me, on Thee, Lord, alone will I call!
O, divine Redeemer! O, divine Redeemer!
I pray Thee, grant me pardon, and remember not, remember not, O Lord, my sins!
Night gathers round my soul! Fearful, I cry to Thee!
Come to mine aid, O my Lord! Haste Thee, Lord, haste to help me!
Hear my cry, hear my cry! Save me, Lord, in Thy mercy;
Hear my cry, hear my cry, come and save me, O Lord!
O, divine Redeemer! O, divine Redeemer!
I pray Thee, grant me pardon, and remember not, remember not, O Lord, my sins!
Save, in the day of retribution; from Death shield Thou me, O my God;
O divine Redeemer! have mercy; help me, my Saviour.
83076-L The Last Rose of Summer
'Tis the last rose of Summer,
Left blooming alone;
All her lovely companions
Are faded and gone;
No flower of her kindred,
No rosebud is nigh,
To reflect back her blushes,
Or give sigh for sigh!
I'll not leave thee, thou lone one,
To pine on the stem;
Since the lovely are sleeping,
Go sleep thou with them.
Thus kindly I scatter
Thy leaves o'er the bed
Where thy mates of the garden
Lie scentless and dead.
Where thy mates of the garden
Lie scentless and dead.
Ford Special#1-L Varsovienne
Step a little farther, step a little farther
Turn around and stand still.
Step a little farther, step a little farther
Turn around and stand still.
For the room is so small
That we can't dance at all.
For the room is so small
That we can't dance at all.
(Repeat)
10067-R Holiday Greetings From The Bunch At Orange - Part 1
Well, boys, here’s a hit we’ll beat the other fellows on:
Hey, Charlie, that cabinet will hold together long enough to get to the dealer. Cut out that static while we hand our friends a few how do you doodle-dos.
This is Farrier speaking, Sales Manager and chief dealers’ helper at the factory. Merry Christmas and a Happy New Year to you and yours. The heads of departments here at the factory, every one of us, are delighted to be able to say a personal word in this unique way, to you fellas in the front line trenches. We want you to know that we realize what you’re up against, that we’re going to maintain close contact with you, and that we’ll be here backing you up 100% until the last gun is fired. 1925 is going to be a far better year than this year has been. The worst is over, so let’s all put on our galoshes and wade in. Let’s make some money this coming year.
This is Art Walsh, Advertising and Music Manager, broadcasting on a wave of increased business. I’m the poor fool who writes those Saturday Evening Post ads you admire so. Besides some more joking, we’re cooking up some plans for next year, that may not increase the size of the Saturday Evening Post, but will certainly increase the size of your Saturday night bank roll. Among other things, there will be a lot of good old Tone Tests, and, by the way, a man who heard a Tone Test the other day remarked, “Say, if you could get a pair of tights to fit that phonograph, and teach it to carry a spear, you could get it a job at the Metropolitan Opera House.” I have another confession to make. I pick the hits. So I’m going to beat it before you hit me.
This is Walter Miller speaking, Manager of the recording studio, 5th Avenue, New York City. I call all the artists by their first names. But I hate to tell you what they call me. When they sing sour, they expect me to record sweet. If the record is good, they grab off the glory. If the record is rotten, they blame me. But even so, you’ll admit, the records are getting better, and they’ll be better still next year.
This is Buchanan speaking, manager of record manufacturing. I make white label records. I never had anything to do with black label records. Our records are getting better, aren’t they, fellas? Well, I’ll have to beat it now, or you won’t get this record on time.
This is O’Shaughnessy talking, Record Service, that’s me. I take care of your record orders. I live on complaints and delays. They are food and drink to me, I eat ’em alive. Next year I expect to starve to death because you fellas won’t have any cause for complaints about your record orders.
This is Bill Hildebrand speaking, Traffic Manager. I’ve got the railroads working for me, and I’m working for you, even though I’m not on your payroll. I’ll get shipments to you promptly, if I have to jackass them myself. That’s all I’ve got to say. Now flop this record over and get another earful.
10068-L Holiday Greetings From The Bunch At Orange - Part 2
This is Sumner Williams, the Purchasing Agent. I'm having a bowling alley, four mahjong tables installed in the purchasing department, to keep us buyers occupied. Life would be very pleasant for us, if somebody in western Texas, or northern Michigan didn’t sell a phonograph every month or so. When that happens, we have to send down to the hardware store for another wheelbarrow load of supplies. As fast as some dealers get a phonograph they sell it. But others, thank God, are more considerate. When they sell anything, they take a nice long rest for fear of overstocking the community. What we really need, are conscientious men with scruples against selling anything at all. It’s time now for my afternoon nap. Don’t wake me up.
This is Charlie Luhr speaking, Manager of Phonograph Manufacturing. These other fellas, who have been jabbing about records, but they’d all be sleeping in the park if I didn’t build good phonographs to play the records. My gang wants work. The backyard is full of mahogany. Shoot us some orders.
This is Gene Philips speaking. You know what they say about the Credit Man. All right, that’s me. I’m sure of my money on time. And my advice to you is do the same. A good dealer keeps one eye on his inventory, and the other on his collections.
This is John Shearman speaking. I look after your phonograph service and complaints. We expect to give even better service next year. I was told to say that, now I’ll tell you the truth! I’m the guy who gets the devil from you for all the mistakes these other fellas make, but it’s not your fault. And I’ll do my darndest to see that you are taken care of.
This is Walter Huebner speaking, Accounting Department Manager. I’m the popular guy, who sends out the bills. Everybody is glad to hear from me. Next year, I’ll try to get the bills out more promptly. Be sure to speak if you don’t get them on time.
This is Viley speaking, Manager of the Commission Man Plan, the best little plan ever conceived for selling Edison phonographs. If you are a Canvasing Dealer, you are eligible for the plan, and one of my men will soon call on you, if he has not already done so. If you are not a Canvasing Dealer, you had better get busy, get a canvasser, and get on this eligible list.
This is Charles Edison speaking, Chairman of the Board of Directors. It has been almost 50 years, since Mr. Edison handed John Kruzy a rough sketch, and said to him, “Kruzy, make this.” It was the phonograph. That night saw also the beginning of a ceaseless driving for greater perfection in product and organization, of toil and effort unbroken through the intervening years. Who knows what greater rewards lie just around the corner of our science? The midnight oil still burns in the Edison Laboratory. The products that have survived the commercial storms of nearly half a century, can save the future with unquenching confidence. And so, a Merry Christmas and Happy New Year to you all. And here is my promise for the best that is in me to help you make us get that.
This is, uh, Thomas A. Edison speaking. I’ll see that they do what they say. I would sing for you, but my boy says, my voice sounds like a cracked tin horn. Merry Christmas and Happy New Year!
| Abandonado | 80784-L |
| Abandoned | 80784-L |
| Abide With Me | 80276-R, 80827-R |
| Adagio Cantabile | 80600-L |
| Adeste Fideles | 50304-R |
| Adjutant's Call | 80613-R |
| Ain't You Comin' Out To-Night? | 51430-L |
| Air for G String | 80419-L |
| Alabama Lullaby | 80465-L |
| Alice, Where Art Thou? | 80697-L |
| All Alone | 51506-R |
| All Hail The Power Of Jesus’ Name | 80355-L |
| All My Life? | 52098-L |
| All Over Nothing At All | 50987-L |
| All The Way To Calvary | 51399-L |
| All Through The Night | 80350-L |
| Aloha Land | 50635-L |
| Aloha Oe | 50706-R |
| Aloha Sunset Land | 80514-L |
| Alone At Last | 51614-L |
| Always | 51689-R, 51708-R |
| Always In My Dreams | 50854-L |
| Ambassador Polka, The | 80531-L |
| America | 50169-R, 80172-R |
| America, Here's My Boy | 50433-R |
| American Eagle March | 50410-R |
| American Fantasie | 50358-R |
| American Legion March, The | 50693-L |
| American Patrol | 50145-R |
| Amina | 50323-R |
| And Then I Forget | 51810-L |
| Andante Religioso | 80428-L |
| Angel's Serenade | 52291-R |
| Anitra’s Dance | 80429-R |
| Ann And Her Little Sedan | 51634-L |
| Annie Laurie | 80098-R, 80519-L, 83059-R |
| Anvil Chorus | 82516-R |
| Any Old Port In A Storm | 51891-L |
| Anything Is Nice If It Comes From Dixieland | 50537-R |
| Anytime, Anyday, Anywhere | 50700-L |
| Apple Blossoms | 50052-R |
| April Showers | 50875-R |
| Are You Coming Home To-Night? | 51582-L |
| Argentina | 51074-L |
| Arioso | 80641-L |
| Arkansas Traveler | 51422-L |
| Arrah Go ’Long With You | 50808-L |
| Asleep In The Deep | 50300-R |
| Assemble Call | 80613-R |
| At a Georgia Campmeeting | 50636-L |
| At Sundown | 52006-L |
| At The Brook | 80429-R |
| Au Revoir | 50118-L |
| Ave Maria | 52338-L, 82536-R |
| Baby Dreams | 50717-R |
| Baby Mine | 80506-L |
| Baby Sister Blues | 51368-R |
| Badinage | 80756-L |
| Ballatella | 82232-L |
| Ballet Music--Excelsior | 50922-L |
| Barcarolle | 82202-L, >80428-R |
| Bard Of Armagh, The | 80626-L |
| Barney Google | 51155-R |
| Battle Song of Liberty March, The | 50732-L |
| Beautiful Isle of Somewhere | 80064-R |
| Beautiful Ohio | 80465-R |
| Because | 52338-R |
| Bees Knees | 51094-R |
| Believe Me If All Those Endearing Young Charms | 51030-R, 51285-L, 82163-L |
| Bell Hops, The | 50886-L |
| Bells Of St. Mary's, The | 50722-L |
| Below the Mason-Dixon Line | 50001-L |
| Ben Bolt | 50104-L |
| Big Bass Viol, The | 51891-R |
| Big Butter And Egg Man | 51634-R |
| Birth of Morn, The | 83073-L |
| Birthday Of A King, The | 50448-L, 80184-R |
| Black Man, The | 50086-L |
| Blue Danube | 80702-R |
| Blue Jay And The Thrush, The | 50300-L |
| Blue Jeans | 50771-R |
| Blue Rose | 51288-L |
| Bo-La-Bo | 50649-R |
| Bolero | 60069-R |
| Bonnie Brier Bush March | 50712-R |
| Bonnie Kate | 50604-L |
| Bonnie Maggie Tamson | 50858-R |
| Boston Commandery March | 50145-L |
| Boy and the Birds, The | 50547-L |
| Boy Scouts of America March, The | 50904-L |
| Breeze | 50584-R |
| Bring Back My Blushing Rose | 50832-R |
| Bring Me A Letter From My Old Home Town | 50494-L |
| Bringin' Home The Bacon | 51351-L |
| Broken Heart | 50053-R |
| Broken Hearted Melody | 51208-L |
| Broken Melody, The | 50097-R |
| Brooke's Triumphal March | 51483-R |
| By The Babbling Brook | 80503-L |
| Bye And Bye You Will Forget Me | 82310-L |
| Bye Bye Blackbird | 51758-R |
| Bye-Bye, Pretty Baby | 52098-R |
| "Calanthe" Waltzes | 51105-R |
| California Here I Come | 51304-R |
| Calinda, The | 52128-L |
| Call Me Your Darling Again | 80098-L |
| Calling | 51987-L |
| Calm as the Night | 80489-L |
| Camp Songs, U. S. Army—No. 1 | 80385-R |
| Camp Songs, U. S. Army—No. 2 | 80385-L |
| Canzonetta | 82212-R |
| Cara Memoria—Nocturne | 51065-L |
| Carnival Of Venice | 51030-L |
| Carry Your Cross With A Smile | 51399-R |
| Casse-Noisette Suite--Part I | 80594-R |
| Casse-Noisette Suite--Part II | 80594-L |
| Casse-Noisette Suite--Part III | 80602-R |
| Casse-Noisette Suite--Part IV | 80602-L |
| Catalina | 50833-R |
| Cavatina | 82047-L |
| Celestial Chimes | 50591-R |
| C'Est Vous | 52117-L |
| Chansonette | 51264-L |
| Charmant oiseau | 82078-R |
| Charme d'Amour-Valse Lente | 50084-R |
| Charming Waltz | 50504-L |
| Cherie, I Love You | 51969-R |
| Chicago Tribune March | 51213-L |
| Chickie | 51335-R |
| Christmas Bells | 50591-L |
| Christmas Cobwebs, The | 50999-L |
| Christmas In Other Lands, Part 1 (Ancient Judea-England-France) | 52129-R |
| Christmas In Other Lands, Part 2 (Spain-Italy-Germany-United States) | 52129-L |
| Christmas Memories | 50448-R |
| Church In The Wildwood, The | 80416-L |
| Ciribiribin | 50323-L |
| Clap Hands! Here Comes Charley! | 51661-R |
| Clover Club | 50508-R |
| Club Quadrille, The | 52067-L |
| Cock-A-Doodle-Doo | 51084-R |
| Co-Ed, The | 51633-L |
| College Hornpipe | 51382-R |
| Collegiate | 51580-R |
| Col. Stuart March | 50614-R |
| Columbia, The Gem Of The Ocean | 80512-R |
| Come and Nestle In Your Daddy's Arms | 50759-R |
| Come Back Chiquita | 52376-L |
| Come Back to Erin | 80113-R |
| Come Unto Him | 82139-R |
| Come Where The Lilies Bloom | 80321-L |
| Coronation March--Le Prophète | 50335-L |
| Cows! | 51877-L |
| Cradle Song 1915 | 83064-R |
| Crinoline Days | 51100-L |
| Croon A Little Lullaby | 51640-R |
| Cry Baby | 51227-L |
| Cumberland Gap | 51690-L |
| Curro Cuchares March | 50749-R |
| Daddy and the Boy | 50411-R |
| Daddy You've Been A Mother To Me | 50686-R |
| Dainty Miss | 52122-R |
| Daisies Won't Tell | 50606-R |
| Dance des Sorcieres, La | 50598-R |
| Dancin’ Dan | 51288-R |
| Danse Arabe | 80602-R |
| Danse Chinoise | 80594-R |
| Danse de la Fée Dragée | 80594-L |
| Danse des Mirlitons | 80594-L |
| Danse Russo (Trépak) | 80602-R |
| Danseuse. La—Intermezzo | 80096-L |
| Dardanella | 50637-R |
| Darktown Quartet Rehearsal, A | 50917-R |
| Das ist der Tag des Herrn! | 57008-R |
| Day By Day In Every Way I'm Getting Better Day By Day | 51068-R |
| Dear Heart | 50061-L |
| Death Of Floyd Collins, The | 51609-L |
| Debutante, The | 80650-R |
| Deenah | 50759-L |
| Deutschland über Alles | 50187-L |
| Devil's Dream, The | 51382-L |
| Di' tu se fedele | 82201-R |
| Did You Mean All You Told Me Last Night? | 50586-L |
| Dinah | 51694-L |
| Dixieland Memories No. 1 | 80395-R |
| Dixieland Memories No. 2 | 80395-L |
| Do You Hear Me Calling? | 80687-R |
| Do You See Any Green In Me Eye | 50808-L |
| Doctor Eisenbart | 50383-L |
| Don Juan Overture | 50162-R |
| Don't Bring Lulu | 51555-L |
| Doughie the Baker | 50484-L |
| Down The Lane (With You Again) | 52006-R |
| Down The Trail To Home Sweet Home | 50704-R |
| Dream, A | 80759-R |
| Dream of Autumn Serenade | 50113-L |
| Dream of the Tyrolienne | 50097-L |
| Dream Of Your Smile, A | 50889-L |
| Dream Train | 52547-L |
| Dreaming Of You | 50928-L |
| Dreary Weather | 51413-R |
| Drigo's Serenade | 51243-R |
| Drink To Me Only With Thine Eyes | 82198-L |
| Du, Du [Liegst Mir Im Herzen] | 50383-L |
| Dublin Mary Brown | 50370-L |
| Duck's Quack, The | 51189-L |
| Duo Concertant | 51397-R |
| Dusky Lullaby, A | 80469-R |
| Dwellers in the Western World | 50084-L, 50086-L |
| Ebben? Ne Endro Lontana | 82232-R |
| Echoes from the Movies | 50215-L |
| Egyptian Rose | 51304-L |
| Eleanor | 51033-L |
| Elisabeth’s Gebet | 73006-L |
| Entr'Acte - Chimes Of Normandy | 50130-L |
| Evening Chimes in the Mountains | 50250-L |
| Every Day I Hear My Daddy Say | 51313-L |
| Ev'rybody Loves My Girl | 52188-R |
| Explanatory Talk - Ave Maria | 82536-L |
| Explanatory Talk - Charmant oiseau | 82078-L |
| Explanatory Talk - The Two Grenadiers | 82534-L |
| Face To Face | 52030-R |
| Falling In Love With You | 51955-L |
| Fancies | 50854-R |
| Fantaisie-Impromptu | 80408-L |
| Fantasia from Simon Boccanegra | 80589-R |
| Far From Thee | 51105-L |
| Farewell Marguerite | 80512-L |
| Father Of Victory March | 51311-R |
| Feast Of The Flowers | 50118-R |
| Feather Your Nest | 50711-L |
| Fidelity Two-Step | 50078-R |
| Finlandia | 80756-R |
| Finnegan's In Again | 51294-L |
| Fire! | 51877-R |
| First Nowell, The | 50380-L |
| Five Foot Two, Eyes Of Blue | 51661-L |
| Flanagan and His Motor Car | 50153-R |
| Floatin' Down To Cotton Town | 50607-R |
| Flora Bella | 50425-L |
| Flower of Italy, A | 50958-R |
| “Flower Song” | 50052-L |
| Four Jacks March, The | 50694-L |
| Freedom For All Forever | 82145-L |
| Freshie | 51633-R |
| Fruhlingsrauschen | 51218-R |
| Frühlingsregen | 51254-L |
| Fuggiam gli ardori | 82201-L |
| Funiculi-Funicula | 82183-R |
| Garden Of Sleep, The | 80697-R |
| Gay Gitana, The | 80760-L |
| General Pershing March | 50491-R |
| George Alley | 51823-R |
| Gipsy's Warning, The | 80760-R |
| Girl I Left Behind Me, The | 51381-L |
| Girl Of My Dreams | 52376-R |
| Give A Man A Horse He Can Ride | 82221-R |
| Gloria--Twelfth Mass | 80292-L |
| Glory To God | 80277-R |
| Glowworm, The | 80469-L |
| Go 'Long, Mule | 51392-L |
| God Be With You! | 52030-L |
| God Be With You Till We Meet Again | 80343-R |
| God Rest You Merry, Gentlemen | 50447-L |
| God Save the King | 50185-R |
| Golden Gate | 50610-R |
| Golden Showers | 51950-R |
| Golondrina, La | 80784-R |
| Goodbye Broadway, Hello France! | 50443-R |
| Goodbye, Girls I'm Through | 80214-L |
| Grandfather's Clock | 50979-L |
| Granny | 50610-L |
| Grey Eagle | 51720-L |
| Guardmount Patrol, The | 50176-L |
| Hail Columbia | 50169-L |
| Hail! Hail! The Gang's All Here! | 50460-R |
| Hail To The Spirit Of Liberty March | 50652-L |
| Hallelujah Chorus | 50304-L, 80292-R |
| Hapa Haole Hula Girl | 50392-L |
| Hard-Hearted Hannah | 51428-L |
| Hark! Hark! The Lark | 82307-L |
| Haul De Woodpile Down | 51644-L |
| Havana Moon | 50857-L |
| Havanola | 50438-L |
| Have A Smile For Everyone You Meet And They Will Have A Smile For You | 50537-L |
| Have You Ever Been In Ireland In April | 52276-R |
| Hawaiian Smiles | 50670-L |
| Headin’ Home | 51282-L |
| Hear Me, Norma | 80063-R |
| Heart of A Girl, The | 51525-L |
| Heel And Toe Polka | Ford Special#2-R |
| Hello Bluebird | 51915-L |
| Here, There and Everywhere March | 50853-L |
| Hey Paw! | 50771-L |
| Hiawatha's Melody of Love | 50686-L |
| Historias Y Cuentos | 50130-R |
| Hold Me And Fold Me Close To Your Heart | 52064-R |
| Holiday Greetings From The Bunch At Orange - Part 1 | Holiday Greetings-R |
| Holiday Greetings From The Bunch At Orange - Part 2 | Holiday Greetings-L |
| Home Again One-Step | 50438-R |
| Home Sweet Home | 80489-R, 82033-R, 83064-L |
| Homeward March, The | 50674-R |
| Honey Babe | 80651-R |
| Honey Bunch | 51758-L |
| Honeydew Waltz | 50709-L |
| Honeymoon Lane | 51090-L |
| Honolulu Hula hula Heigh! | 51368-R |
| How Come You Do Me Like You Do? | 51428-R |
| How I Love That Girl! | 51492-L |
| How I Love You I'm Tellin' The Birds - Tellin' The Bees | 51937-R |
| How Sorry You'll Be | 50646-R |
| How 'Ya Gonna Keep 'Em Down On the Farm After They've Seen Paree? | 50518-L |
| Humoreske Song, The | 51002-L |
| Humoresque | 82047-R |
| Hungarian Rhapsody | 80683-L |
| Hungarian Serenade | 50360-L |
| Hunika | 50800-R |
| Hurry Along, Liza With Me | 51021-L |
| I Came, I Saw, I Fell | 51090-R |
| I Hear You Calling Me | 80759-L |
| I Know | 50832-L |
| I Know That My Redeemer Liveth | 83042-L |
| I Love My Baby | 51694-R |
| I Love The Name Of Mary | 50083-R |
| I Never Knew | 51653-L |
| I Surrender All | 52081-L, 80343-L |
| I Wonder What's Become Of Sally? | 51414-R |
| I Wonder Where My Baby Is To-Night | 51653-R |
| I'd Be Happy Anywhere With You | 50435-L |
| I'd Give Ev'ry Rose On Broadway For That Little Rose Back Home | 51393-L |
| If I Can't Have You | 51819-L |
| If You Had All the World And Its Gold | 50465-L |
| I'll Forget You | 50859-R |
| I'll Take You Home Again, Kathleen | 80160-R |
| I'm Falling In Love With Some One | 80849-R |
| I'm Going Back To The Workhouse | 50924-L |
| I'm Going To Park Myself In Your Arms | 51835-R |
| I'm Gonna Bring A Water-Melon | 51365-L |
| I'm Just A Ragged Newsboy, But My Heart's True Blue | 51374-L |
| I'm Looking For A Girl Named Mary | 51987-R |
| I'm Sitting On Top Of The World | 51640-L |
| I'm Somebody Nobody Loves | 51293-R |
| In A Little Spanish Town | 51965-R |
| In A Monastery Garden | 50812-R |
| In My Gondola | 51704-R |
| In My Tippy Canoe | 50800-R |
| In Nineteen-Ninety-Nine | 51360-L |
| In Old Manila | 50704-L |
| In questo suolo | 82183-L |
| In Shadowland | 80844-R |
| In Siam | 50619-L |
| In Sweet September | 50700-R |
| In The Cross of Christ I Glory | 51957-R |
| In The Garden | 80520-L |
| In The Gloaming | 80145-R |
| In The Heart Of Dear Old Italy | 50763-L |
| In Your Green Hat | 51674-R |
| Indian Love Call | 80841-R |
| Indiana Moon | 51243-L |
| Introduction and Tarantelle | 80641-R |
| Invincible Eagle March, The | 50853-R |
| Irish Washerwoman | 50500-R |
| Isle Of Love | 50903-L |
| It Ain't Gonna Rain No Mo' | 51430-R |
| Italian Fantasia | 50199-L |
| Italian Rose | 51413-L |
| It's Breaking My Heart To Keep Away From You | 51819-R |
| It's Never Too Late To Be Sorry | 50503-R |
| I've Got My Captain Working For Me Now | 50603-L |
| I've Got The Travelling "Choo-Choo Blues” | 50808-R |
| I've Made Up My Mind To Mind A Maid Made Up Like You | 50611-R |
| Iyone—My Own Iyone | 51808-L |
| Japanese Sandman, The | 50709-R |
| Java, La | 51305-L |
| Jazzie-Addie | 50523-L |
| Jealous | 51391-R |
| Jeannine I Dream Of Lilac Time | 52429-R |
| Jesus Christ Is Risen To-Day | 51957-L |
| Jimmy | 51080-L |
| John T. Scopes Trial, The | 51609-R |
| Johnny, Stop! Please Don't! Mom-ma! | 51293-L |
| Johnson "Jass" Blues | 50470-L |
| Jolly Coppersmith March, The | 50176-R |
| Joy To The World | 50380-R |
| June Moon | 50865-R |
| Junger Herr | 57008-L |
| Just A Baby's Prayer At Twilight | 80406-R |
| Just A Girl That Men Forget | 51245-R |
| Just A Girl That Men Forget | 51264-R |
| Just A Memory | 52143-L |
| Just A Night For Meditation | 52365-L |
| Just An Ivy Covered Shack | 52054-R |
| Just Before The Battle, Mother | 80118-R, 80613-R |
| Just Like A Melody Out Of The Sky | 52373-L |
| Juventino Rosas | 80579-R |
| K-K-K-Katy | 50490-R |
| Kangaroo Hop | 50353-L |
| Karavan | 50645-R |
| Karzan | 50685-L |
| Kathleen Mavourneen | 50998-R, 80064-L |
| Katy Hill | 51690-R |
| Katy Mahone | 80436-R |
| Keep Smiling At Trouble | 51491-R |
| Keep The Home Fires Burning | 82149-R |
| Kentucky Lullaby | 51791-L |
| Kentucky Waggoners-Reel | 51720-R |
| Kimmel March | 50604-R |
| Kiss In The Dark, A | 51156-R, 80849-L |
| Kiss Mama Kiss Papa | 51080-R |
| Kiss Me Goodnight | 51388-L |
| Kitten On The Keys | 50898-L |
| Knocker, The | 50924-R |
| Kona Waltz | 51950-L |
| Laddie In Khaki | 82149-L |
| Lady Of The Evening | 51100-R |
| Lancelot | 80687-L |
| Largo | 50053-L |
| Largo from "New World" Symphony | 52291-L |
| Largo--Xerxes | 80419-R |
| L' Arlesienne–Adagietto | 82172-L |
| Larson Kids Go Bathing, The | 50942-R |
| Lassie Waltz | 50679-L |
| Last Hope | 51285-R |
| Last Night | 80327-R |
| Last Night On The Back Porch (I Loved Her Best Of All) | 51212-R |
| Last Rose of Summer, The | 80327-L, 83076-L |
| Laugh, Clown, Laugh | 52373-R |
| Lawn Swing, The | 51068-L |
| Lead, Kindly Light | 80127-L, 80827-L |
| Légende | 82349-R |
| Leonore Overture No. 3 - Part 1 | 80775-R |
| Leonore Overture No. 3 - Part 2 | 80775-L |
| Let The Lower Lights Be Burning | 52030-L |
| Let Us Not Forget - A Message To The American People | 50509-R |
| Liberty Bell March | 50636-R |
| Liebestraum | 80702-L, 80800-L |
| Light Calvary Overture | 80096-R |
| Limehouse Blues | 51305-R |
| Lindy Lady | 51295-L |
| List! The Cherubic Host | 80520-R |
| Listen To This | 50388-R |
| Listening | 50800-L |
| Little Birch Canoe And You, A | 50503-L |
| Little Boy And His Mother At The Circus, The | 50411-L |
| Little Boy Blue | 83073-R |
| Little Brown Jug | 51422-R |
| Little Bungalow, A | 51674-L |
| Little Ford Rambled Right Along, The | 50227-L |
| Little Girls, Good Bye | 50639-L |
| Little Good For Nothing's Good For Something After All, The | 50903-R |
| Little Log Cabin Of Dreams | 52303-L |
| Little Pickaninny Kid | 80651-L |
| Little Rover | 51140-R |
| Little Tommy Went A Fishing | 80483-R |
| Little White House, The | 51924-R |
| Little Wooden Whistle Wouldn't Whistle, The | 51294-R |
| Loch Lomond | 80350-R |
| Lola | 50582-L |
| Lonesome And Sorry | 51808-R |
| Look What You've Done With Your Dog-Gone Dangerous Eyes | 50717-L |
| Lorraine (My Beautiful Alsace-Lorraine) | 80406-L |
| Lost Chord, The | 82554-R |
| Louisville Lou | 51189-R |
| Love Dreams of LuLa Lu | 51665-R |
| Love Sends A Little Gift Of Roses | 80667-R |
| Love's Old Sweet Song | 80613-L |
| Low-Back'd Car, The | 80436-L |
| Lucille | 50628-L, 51388-R |
| Lullaby--Erminie | 80113-L |
| Lulu Belle | 51738-L |
| Luxembourg Waltz | 80531-R |
| Madame Butterfly Selection - Part 1 | 80633-R |
| Madame Butterfly Selection - Part 2 | 80633-L |
| Maid Of The Mountains, The | 50842-L |
| Make That Trombone Laugh | 50637-L |
| Mammy's Little Coal Black Rose | 50465-R |
| Manhattan Beach March | 50677-R |
| March "Lithgow" | 51170-L |
| March Of The Mannikins | 51142-R, 51192-R |
| March Religioso | 50812-L |
| Marche Militaire | 51311-L |
| Marche Slave | 51213-R |
| Marcheta | 51219-R |
| Margie | 50717-L, 50763-R |
| Marie—Nocturne | 51065-R |
| Maritana Overture Part I | 80176-R |
| Maritana Overture Part II | 80176-L |
| Mary | 50549-L |
| Mary Ann | 52199-R |
| Mary Lou | 51806-R, 51936-L |
| McDonald's Reel | 51278-L |
| Me And My Shadow | 52117-R |
| Me And The Boy Friend | 51455-L |
| Medley of Hawaiian Airs | 50369-L |
| Medley of Irish Reels | 50500-L |
| Medley of Old Time Tunes | 50749-L |
| Medley of Southern Airs | 50674-L |
| Melody That Made You Mine, The | 80844-L |
| Memories of Home | 50061-R |
| Memories Of The South | 50960-R |
| Memories Of You In Dear Hawaii | 80503-R |
| Memphis Blues, The | 50349-R |
| Menuet in G | 80419-R |
| Merry Whirl | 50349-L |
| Merry Widow Waltz, The | 50842-R |
| Mess Call | 80613-R |
| Midsummer Night’s Dream—Intermezzo | 80356-L |
| Midsummer Night’s Dream—Nocturne | 80356-R |
| Mighty Lak' a Rose | 83073-L |
| Minuet in G | 80857-R |
| Miserere | 82516-L |
| Miss Johnson's Party Medley | 50900-R |
| Miss Trombone | 50598-L |
| Mississippi Cradle | 50854-L |
| Missouri Waltz, The | 50428-L |
| Mit Gewitter Und Sturm | 73006-R |
| Mo-Ana | 50425-R |
| Moana Chimes | 51436-R |
| Molly On A Trolley | 50819-R |
| Monastery Bells Waltz | 50898-R |
| Money Musk With Variations | 51381-R |
| Moonlight in Jungleland | 50001-R |
| Moonlight In Mandalay | 50699-R |
| Moonlight on the Ganges | 51915-R |
| Moonlight on the Lake | 50265-R |
| Morning | 51389-L |
| Mother Goose Songs No. 1 | 51251-R |
| Mother Goose Songs No. 2 | 51251-L |
| Mother Goose Songs No. 3 | 51284-R |
| Mother Goose Songs No. 4 | 51284-L |
| Mother Machree | 80293-R |
| Mother's Prayers Have Followed Me | 50228-R |
| Muddy Water | 51990-R |
| Murmuring Zephyrs | 51218-L |
| Musical Trust, The | 80483-R |
| My Ain Folk | 82163-R |
| My Angel | 52322-R, 52429-L |
| My Blue Heaven | 52128-R |
| My Cairo Love | 50554-R |
| My Carolina Rose | 51111-L |
| My Daddy | 51965-L |
| My Desert Love | 50611-L |
| My Dutch Lady | 51230-L |
| My Father Watches Over Me | 50228-L |
| My Heart At Thy Sweet Voice | 80417-R |
| My Isle of Golden Dreams | 50649-L |
| My Lady Of The Telephone | 80214-R |
| My Mother's Rosary | 50343-L |
| My Old Hawaiian Home | 51033-R |
| My Old Kentucky Home | 80321-R |
| My Sahara Rose Medley | 50685-R |
| My Sunny Tennessee | 50827-L |
| My Sweetheart Waltz | 51918-L |
| My Wild Irish Rose | 80293-L |
| National Airs of the Allies | 50509-L |
| National Emblem March | 50358-L |
| National Fencibles March | 51483-L |
| Nation's Awakening March, The | 50486-R |
| Nazareth | 80643-R |
| Nearer My God To Thee | 51879-R |
| Needing You | 52322-L |
| New Colonial March, The | 50410-L |
| Nightingale | 51455-R |
| Ninety and Nine, The | 52487-L, 80416-R |
| Nocturne | 82212-L |
| Nola | 50960-L |
| Nona Waltz | 50508-L |
| Normandy | 51625-L |
| Norwegian Dance | 82349-L |
| Nutcracker Suite--Part I | 80594-R |
| Nutcracker Suite--Part II | 80594-L |
| Nutcracker Suite--Part III | 80602-R |
| Nutcracker Suite--Part IV | 80602-L |
| O Divine Redeemer! | 83076-R |
| O-H-I-O | 50739-R |
| O Holy Night | 82055-R,82171-L |
| O-Le-O-Lady | 51115-R |
| O Little Town Of Bethlehem | 50302-R |
| O Silenzio A Buordo | 50900-L |
| O Sole Mio | 51254-R, 51701-R |
| Officer Of The Day March, The | 52064-L |
| Oh Boy, What A Girl! | 51614-R |
| Oh Helen! | 50518-R |
| Oh! How He Lied To Me | 51221-L |
| Oh! If I Only Had You | 51806-L |
| Oh, Katharina! | 51492-R |
| Oh! Lucindy | 52188-L |
| Oh! Mabel | 51491-L |
| Oh Promise Me | 50104-R |
| Oh! Sister, Ain't That Hot! | 51221-R |
| Oh! Susanna | 51295-R |
| Oh! What I'd Give To Bring You Back | 51914-L |
| Old Black Joe | 80729-R |
| Old Comrades March | 50895-R |
| Old Folks At Home | 83059-L |
| Old Jim's Christmas Hymn | 80360-R |
| Old King Tut | 51155-L |
| Old MacDonald Had A Farm | 51644-R |
| Old Oaken Bucket, The | 50265-L |
| 'Olé Las Mujeres! | 60069-L |
| Ole Virginny | 50388-L |
| Ole Virginny Days | 80411-L |
| On A Moonlight Night | 51111-R |
| On A Woodland Glade | 51034-L |
| On the Banks of the Brandywine | 80160-L |
| On the Beach Medley | 50369-R |
| On the High Alps | 50065-L |
| On The Riviera | 51810-R |
| On The Road To Mandalay | 80860-R |
| Once In Royal David's City | 50302-L |
| One Alone | 51936-R |
| One Sweetly Solemn Thought | 51879-L, 80127-R |
| One, Two, Three, Four | 51368-L |
| Open The Gates Of The Temple | 80277-L |
| Open Your Arms My Alabamy | 51131-L |
| Opera Reel With Calls | 51278-R |
| Operatic Rag | 50217-L |
| Operatic Syncopation | 50917-L |
| Orpheus Overture | 50078-L |
| Our Director March | 50706-L |
| Out of the East | 50504-R |
| Out On The Deep | 80483-L |
| Over The Waves Waltz | 80579-R |
| Over There | 50443-L |
| Overture Miniature | 80594-R |
| Paderewski’s Menuet | 82307-R |
| Pal That I Loved Stole The Gal That I Loved, The | 51391-L |
| Palms, The | 80854-R, 82055-L |
| Paloma, La | 51701-L, 80063-L |
| Panama Exposition Overture | 50199-R |
| Parade Of The Wooden Soldiers | 50987-R, 51192-L, 51196-R |
| Paradise Alley | 51351-R |
| Parted | 80599-L |
| Pastorale | 82170-L |
| Patches | 50650-R |
| Patrol Of The Scouts | 50582-R |
| Peer Gynt--Suite No. 1 Part 1 | 80216-R |
| Peer Gynt--Suite No. 1 Part 2 | 80216-L |
| Peer Gynt--Suite No. 1 Part 3 | 80216-R |
| Peer Gynt--Suite No. 1 Part 4 | 80216-L |
| Perfect Day Waltz, A | 50291-R |
| Perpetuum Mobile | 80683-R |
| Peter Gink | 50622-R |
| Phedre Overture--Part 1 | 80515-R |
| Phedre Overture--Part 2 | 80515-L |
| Piccolo Pic | 50688-L |
| Pickaninny Blues | 50664-R |
| Pickaninny Rose | 50722-R |
| Pilgrims' Chorus | 52193-L |
| Pique Dame Overture--Part 1 | 80201-R |
| Pique Dame Overture--Part 2 | 80201-L |
| Pirates of Penzance Airs No. 1 | 80251-R |
| Pirates of Penzance Airs No. 2 | 80251-L |
| Plantation Lullaby | 50855-R |
| Poet and Peasant Overture-Part 1 | 80342-R |
| Poet and Peasant Overture-Part 2 | 80342-L |
| Polka de W. R. | 82187-L |
| Polly-Olly-Oo | 51212-L |
| Polonaise Militaire | 50922-R |
| Pomp And Circumstance March | 80851-R |
| Poor Butterfly | 80799-L |
| Poor Butterfly | 50428-R |
| Portobello Lassie, The | 50858-L |
| Praise Ye | 50335-R |
| Precious Little Thing Called Love, A | 52547-R |
| Prelude - Le Deluge | 82172-R |
| Prelude in C Sharp Minor | 80800-R, 82187-R |
| Prettiest Little Song Of All, The | 50491-L |
| Pretty Dick Polka | 50712-L |
| Pretty Edelweiss | 80294-L |
| Pretty Kitty Kelly | 50683-L |
| Pretty Little Rainbow | 50628-R |
| Prisoner's Song, The | 51459-R |
| Put Away A Little Ray Of Golden Sunshine For A Rainy Day | 51389-R |
| Put On Your Old Grey Bonnet | 50606-L |
| Put Your Arms Where They Belong | 51937-L |
| Ragging The Chopsticks | 50584-L |
| Ragtime At Pun'kin Center | 50689-L |
| Ramona | 52231-L |
| Recollections of 1861-65 | 80613-R |
| Red Man, The | 50084-L |
| Red Moon | 51034-R |
| Régiment de Sambre-et-Meuse, Le | 50507-L |
| Regimental Pride March | 51170-R |
| Rejoice Greatly | 80757-L |
| Remember | 51625-R, 51708-L |
| Repasz Band March | 51617-L |
| Ride Of The Cavalry | 50895-L |
| Rigoletto Selection--Part 1 | 80396-R |
| Rigoletto Selection--Part 2 | 80396-L |
| Ring And The Rose, The | 50694-R |
| Ring on Sweet Bells | 80174-R |
| Ring Out The Bells For Christmas | 80184-L |
| Ritzi Mitzi | 51177-L |
| Robin Hood Airs, No. 1 | 80797-R |
| Robin Hood Airs, No. 2 | 80797-L |
| Rock Of Ages | 52081-L |
| Roll Along Missouri | 51230-R |
| Romanza Expresiva | 50130-R |
| Rosary, The | 80100-R, 82554-L |
| Rose-Marie | 51506-L |
| Rose-Mousse | 50086-R |
| Rose Of No Man's Land, The | 80434-R |
| Rose Of The Morning | 51230-L |
| Roses For Remembrance | 51918-R |
| Roses Remind Me Of You | 51924-L |
| Rufus On The Old Kent Road | 51245-L |
| Rule Britannia | 50185-L |
| Rustle Of Spring | 51218-R |
| Sabre and Spurs March | 50507-R |
| Sahara | 50638-L |
| St. Louis Blues, The | 50523-R |
| Sally | 50739-L |
| Sally, Won't You Come Back? | 50832-R |
| Santa Claus Hides In Your Phonograph | 50999-R |
| Santa Claus Song | 50383-R |
| Saul Overture--Part 1 | 80518-R |
| Saul Overture--Part 2 | 80518-L |
| Saxophone Fantasie | 80589-L |
| Say It With A Ukulele | 51219-L |
| Say It With Music | 50865-L |
| Scented Violets | 80579-L |
| Scotch Reel | 52067-R |
| Seaside Polka | Ford Special#2-L |
| Second Hand Rose | 50832-L |
| Second Mazurka | 80408-R |
| Second Rhapsodie--Part 1 | 82169-R |
| Second Rhapsodie--Part 2 | 82169-L |
| Second Rhapsodie--Part 3 | 82170-R |
| See Old Man Moon Smile | 50603-R |
| Seek Ye The Lord | 80588-R |
| Semper Fidelis March | 50671-R |
| Serenade | 50998-L, 80417-L |
| Serenade Espagnole | 82172-L |
| Serenade - Les Millions D'Arlequin | 80294-R |
| Serenata—I Wait Beneath Thy Window, Love | 80599-R |
| Setting the Pace | 50353-R |
| Sextet - Chi mi frena | 82266-R, 82266-L |
| Shall We Gather At The River | 80355-R |
| Shanghai Dream Man | 51980-L |
| Shout All Over God's Heaven | 51364-L |
| Sidewalks Of New York, The | 51374-R |
| Silent Night | 80643-L, 80854-L, 82171-R |
| Silver Bell | 50516-L |
| Silver Sands Of Love | 50863-L |
| Simplicity--InterMezzo | 50426-L |
| Since First You Smiled On Me | 50979-R |
| Sing Song Man | 50993-R |
| Sing Us A Song Of Bonnie Scotland | 50675-R |
| Singing To You | 80524-R |
| Sinking Of The Titanic | 51823-R |
| Sister Hasn't Got A Chance Since Mother Bobbed Her Hair | 51392-R |
| Sixty Seconds Ev'ry Minute, I Think Of You | 51094-L |
| Skater Waltz, The | 80076-R |
| Skating Trot, The | 50217-R |
| Sleepy Little Village, A | 50928-R |
| Sliding Sid | 50547-R |
| Smile Through Your Tears | 80729-L |
| Smile Will Go a Long Long Way, A | 51326-R |
| Smiles | 80425-L |
| Smiles, Then Kisses | 50392-R |
| Smilin' Through | 80506-R |
| Snow Deer | 50516-R |
| So Long, Mother | 50460-L |
| So Long, Oo Long | 50682-R |
| Soldiers' Chorus | 52193-R |
| Somebody Loves Me | 51418-R |
| Sonata In C Major | 51397-L |
| Song Of India, A | 80860-L |
| Song of Songs, The | 51969-L |
| Song of Steel, A | 80174-L |
| Song Of The Chimes | 80247-R |
| Sonny Boy | 52391-L |
| South Russian Folk-Song | 80650-L |
| Souvenir | 80857-L |
| Spanish Rhapsody | 50360-R |
| Spirit of Independence March | 50652-R |
| Spring Showers | 51254-L |
| Spring Song | 80429-L |
| Standin' In The Need O' Prayer | 51364-L |
| Star Of Bethlehem, The | 80360-L |
| Star Spangled Banner, The | 50169-L, 80172-L |
| Stars and Stripes Forever March, The | 50250-R |
| Steamboat Bill | 50886-R |
| Steppin' In Society | 51580-L |
| Strife Is O'er, The | 51957-R |
| Submarine Attack, A | 50490-L |
| Sunset on the St. Lawrence Waltz | 50291-L |
| Swallow, The | 80784-R, 82033-L |
| Swanee | 50651-R |
| Sweet Hawaiian Dreams | 51665-L |
| Sweet Spirit, Hear My Prayer | 80247-L |
| Swing Low, Sweet Chariot | 51364-R |
| Take A Chance | 50510-L |
| Take In The Sun, Hang Out The Moon | 51955-R |
| Take Your Finger Out Of Your Mouth | 51980-R |
| Take Your To-Morrow | 52391-R |
| Taps | 80613-R |
| Taxi | 50593-L |
| Tea For Two | 51418-L |
| Tea Leaves | 50774-R |
| Tears | 50549-R |
| Tell Me If You Want Somebody Else | 51335-L |
| Tell Me Gypsy | 51173-R |
| Ten Little Fingers And Ten Little Toes | 50855-L |
| Tents of Arabs | 50619-R |
| That Bran’ New Gal O’ Mine | 51282-R |
| That Naughty Waltz | 50682-L |
| That Night In Araby | 51835-L |
| That Old Gang Of Mine | 51235-L |
| That Old Irish Mother Of Mine | 80626-R |
| That Red Head Gal | 51156-L |
| That Tumble-Down Shack in Athlone | 50586-R |
| That's A Lot Of Bunk | 51235-R |
| That's My Baby | 51196-L |
| Theme and Variations--Sonata IX | 82197-R |
| There Were Shepherds | 80277-R |
| There's A Beautiful Land On High | 82139-L |
| There's a Little Spark of Love Still Burning | 80227-R |
| There's a Long, Long Trail | 50343-R, 82145-R |
| There's A Typical Tipperary Over Here | 50683-R |
| There's Nobody Else But You | 51313-R |
| There's Only One Mary In Maryland | 51131-R |
| These Are They | 80757-R |
| This Is The Time | 50510-R |
| Three O'Clock in the Morning | 51087-R |
| Thru the Park March | 50215-R |
| Thy Troubadour | 82221-L |
| Time Will Tell | 51080-L |
| Tip-Top Tipperary Mary | 50227-R |
| To A Wild Rose | 80600-R |
| To-Morrow | 51074-R |
| To-Night You Belong To Me | 51914-R |
| Town Topics of Pun'kin Center | 50263-R |
| Trail of The Lonesome Pine, The | 50083-L/td> |
| Tranquillo Overture | 51617-R |
| Tripoli | 50699-L |
| Trumpet Shall Sound, The | 83042-R |
| Trumpeter’s Carnival | 50671-L |
| Tune In On L-O-V-E | 51360-R |
| Turkish Patrol, The | 50162-L |
| Twilight Dreams Are Dreams Of You | 82310-R |
| Two Grenadiers, The | 82534-R |
| Two Lips | 52365-R |
| U. S. Field Artillery March, The | 50688-R |
| Ukulele Lady | 51555-R |
| Umbrellas To Mend | 50470-R |
| Uncle Josh And The Sailor | 50942-L |
| Uncle Josh Buys an Automobile | 50263-L |
| Uncle Josh in a Barber Shop | 50264-L |
| Uncle Josh Keeps House | 50264-R |
| Uncle Josh's Birthdaye | 50689-R |
| Uncle Josh’s Huskin Bee | 50260-L |
| Under The May Moon | 50859-L |
| Under The South Sea Palms | 51436-L |
| Underneath The Mellow Moon | 51111-L |
| Underneath The Moon | 50664-L |
| Until The End Of Time | 51140-L |
| Valencia | 51738-R |
| Valse | 50958-L |
| Valse des Fleurs | 80602-L |
| Valse Fantastique | 50113-R |
| Valse in A Flat Op. 42 | 82197-L |
| Valse in A Flat, Op. 64, No. 3 | 82202-R |
| Vamp, The | 50554-L |
| Vampire Dance Characteristic, The | 50614-L |
| Varsovienne | Ford Special#1-R |
| Varsovienne [Vocal] | Ford Special#1-L |
| Velma | 80578-L |
| Vera | 50881-L |
| Volunteers March, The | 50486-L |
| Wacht am Rhein, Die | 50187-R, 50187-L |
| Wailana Waltz | 50670-R |
| Wait Until The Roses Bloom | 50635-R |
| Waltz Florida | 50833-L |
| Waltz in the Moonlight and You, A | 80841-L |
| War March Of The Priests | 80851-L |
| War Talk At Pun’kin Center | 50260-R |
| Warblers' Serenade, The | 50881-R |
| Was It A Dream? | 52303-R |
| Was There Ever A Pal Like You | 50646-L |
| Washington Grays March | 50732-R |
| Waves Of The Danube | 82198-R |
| Way Out West In Kansas | 51459-L |
| We Strongly Now Will Try Together | 80519-R |
| We Three Kings Of Orient Are | 50447-R |
| We Two | 50941-L |
| Wearing Of The Green | 51115-L |
| Weaving My Dreams | 51156-R |
| Wedding Of The Rose, The | 50693-R |
| Wedding of the Winds Waltzes | 50065-R |
| Wee Deoch And Doris, A | 50484-R |
| Weep No More | 50889-R |
| We'll Do Our Share | 50494-R |
| Were My Song With Wings Provided | 80599-R |
| We're Tenting To-night | 80613-R |
| West, a Nest, and You, The | 51326-L |
| Western Land | 50593-R |
| What A Friend We Have In Jesus | 80581-R |
| What Has Become Of Hinky Dinky Parlay Voo | 51365-R |
| What Shall The Harvest Be? | 52081-R |
| When Buddha Smiles | 50875-L |
| When Day Is Done | 52054-L, 52143-R |
| When I Build A Home Of Me Own | 52276-L |
| When I Met You | 50577-L |
| When I was Twenty One | 50675-L |
| When I Was The Dandy And You Were The Belle | 51414-L |
| When I’m Gone You’ll Soon Forget | 80411-R |
| When Irish Eyes are Smiling | 80255-R |
| When Johnny Comes Marching Home | 80613-R |
| When June Comes Along With A Song | 50941-R |
| When Knighthood Was In Flower | 51087-L |
| When My Baby Smiles | 50645-L |
| When My Baby Smiles At Me | 50651-L |
| When the Corn Is Waving | 80514-R |
| When The Honeymoon Was Over | 50827-R |
| When The Leaves Come Tumbling Down | 51036-L |
| When the Robins Nest Again | 80100-L |
| When the Roll is Called up Yonder | 80276-L |
| When The Ships Come Home | 80434-L |
| When The Twilight Comes To Kiss The Rose Good Night | 80145-L |
| When They Ring The Golden Bells For You And Me | 51582-R |
| When Uncle Joe Plays A Rag On His Old Banjo | 50153-L |
| When You Come Back And You Will Come Back, There's the Whole World Waiting for You | 80425-R |
| When You Find A Girl Who Loves You | 51791-R |
| When You're Gone I Won't Forget | 50678-R |
| When You're In Love | 52122-L |
| When You're With Somebody Else | 52231-R |
| Whenever You're Lonesome | 50993-L |
| Where Do We Go From Here? | 50433-L |
| (Where Have You Been) All My Life? | 52098-L |
| Where Is My Wand’ring Boy To-Night? | 52487-R |
| Where the River Shannon Flows | 80255-L, 80578-R |
| Where The Silvery Colorado Wends Its Way | 51002-R |
| Whispering | 50711-R |
| Whispering Hope | 50678-L |
| Whistler And His Dog, The | 50426-R |
| Who's Sorry Now | 51173-L, 51208-R |
| Whose Who Are You? | 51689-L |
| Why Did You Come Into My Life? | 50577-R |
| Will There Be Any Stars? | 80588-L |
| William Tell Overture-Part 1 | 80128-R |
| William Tell Overture-Part 2 | 80128-L |
| Wimmin Aaah! | 51704-L |
| Winding Trail, The | 51990-L |
| Windy Willy | 50677-L |
| Wine, Woman and Song | 80076-L |
| With All Her Faults, I Love Her Still | 50863-R |
| With His Umpah Umpah On The Umpah Isle | 51021-R |
| Without You Sweetheart | 52199-L |
| Wonder If She's Lonely, Too | 51227-R |
| Wonderland Of Dreams | 50857-R |
| Won't You Write A Letter, Papa | 80118-L |
| Words | 51393-R |
| World Is Waiting For The Sunrise, The | 80667-L, 80799-R |
| Would You? | 50774-L |
| Wreck Of The C. & O. | 51823-R |
| Yellow Dog Blues | 50650-L |
| Yelping Hound Blues | 50622-L |
| Yes! We Have No Bananas | 51177-R |
| Yield Not To Temptation | 80581-L |
| Yo-Lay-Ee-Oo | 50819-L |
| Yorktown's Centennial March | 50904-R |
| You | 51290-L |
| You Are Free | 50639-R |
| You Are My Rain-Beau | 51094-L |
| You Didn't Want Me When I Wanted You | 51290-R |
| You Gave All Your Kisses To Somebody Else | 51525-R |
| You Gave Me Your Heart | 51036-R |
| You Know You Belong To Somebody Else | 51142-L |
| You Said Something | 50435-R |
| You'd Be Surprised | 50638-R |
| Young Man's Fancy, A | 50679-R |
| Young Rajah, The | 51084-L |
| You're a Dangerous Girl | 50370-R |
| You're My Gal | 50607-L |
| You're Plenty Up To Date For Me | 80227-L |
| Zingarella, La | 80524-L |
| Abrams, Irwin | 51625-L, 51633-L |
| Adler, Josef | 80641-R, 80683-R |
| Alban, Theo | 52365-R, 52365-L, 52376-R |
| Alcock, Merle | 82266-R |
| Alessios Mandolin Quartet | 50360-R, 50360-L |
| All Star Trio, The | 50523-R, 50593-R, 50619-L, 50628-L. 50645-L |
| Allen, Edward | 80360-R, 80667-L |
| American Concert Orchestra | 80775-R, 80775-L |
| American Symphony Orchestra | 50052-R, 50053-L, 50065-R, 50078-L, 50084-R, 50086-R, 50113-R, 50113-L, 50118-R, 50118-L, 50130-R, 50130-L, 80063-L, 80076-R, 80076-L, 80096-L, 80342-R, 80342-L, 80356-R, 80356-L, 80396-R, 80396-L, 80515-R, 80515-L, 80518-R, 80518-L, 80594-R, 80594-L, 80602-R, 80602-L, 80633-R, 80633-L, 80756-R, 80756-L |
| Anthony, Harry | 80064-R |
| Apollo Quartet of Boston | 80416-L, 80520-L |
| Archibald, Vernon D. | 80145-L, 80174-R, 80643-L |
| Aron, M. | 50987-L, 51074-R |
| Atlantic Dance Orchestra | 51074-L, 51094-R, 51094-L, 51156-L, 51304-R, 51305-R |
| Austin, Gene | 51422-R, 51422-L |
| Bacon, Fred J. | 50674-L |
| Bailey | 51219-L |
| Bailey, Edna | 50999-L, 50411-R, 50411-L |
| Baker, Phil And His Accordion | 51634-R, 51634-L |
| Ball, Rae Eleanor | 50857-R, 50857-L, 51245-R, 51245-L, 51708-R, 51708-L, 51808-R, 51808-L |
| Ballard, George Wilton | 50343-R, 50433-R, 50435-L, 50460-L, 50577-L, 50646-L, 50678-R, 50686-R, 50699-L, 50928-L, 51389-R, 51389-L |
| Baroni, Enrico | 82266-R, 82266-L |
| Belmont | 50300-L |
| Belov, Joel | 80419-R, 80419-L |
| Benoist, André | 80408-R, 80408-L, 82047-R, 82172-R, 82172-L 82212-R, 82212-L, 82307-R, 82307-L |
| Bent | 51219-L |
| Berger, Kitty | 50694-R |
| Bergere, Bettina | 50435-L |
| Bernard, Al | 50603-R, 50607-L, 50651-R, 51021-L, 51115-R, 51360-L, 51365-R |
| Bessinger | 51391-R, 51640-R, 51640-L, 51653-R, 51653-L |
| Billy Wynne's Greenwich Village Inn Orchestra | 51580-L |
| Bisbee, Jasper | 51278-R, 51278-L, 51381-R, 51381-L, 51382-R, 51382-L |
| Bisbee-Schuler, Beulah | 51278-R, 51278-L, 51381-R, 51381-L, 51382-R, 51382-L |
| Blue Ridge Duo, The | 51422-R, 51422-L |
| Blue Ridge Mountaineer, The | 51823-R, 51823-L |
| Bonner, William | 50683-L |
| Boston National Grand Opera Chorus | 82201-R |
| Brady, Florence | 51221-L, 51428-R |
| Briers, Larry | 50900-R |
| Brissett, Fred J. | 51397-R |
| Broadway Dance Orchestra | 50827-R, 50827-L, 50832-R, 50832-L, 50833-R, 50941-R, 51036-R, 51036-L, 51090-L, 51100-R, 51100-L, 51142-R, 51142-L, 51173-R, 51173-L, 51282-R, 51282-L, 51313-R, 51413-R |
| Buchanan, Jeff | Holiday Greetings-R |
| Burckhardt, John F. | 50491-L, 50500-R, 50699-L, 51245-R, 51245-L, 51690-R, 51690-L, 51708-R, 51708-L, 51808-R, 51808-L |
| Calvary Choir, The | 80588-R |
| Capodiferro, Pietro | 50448-L |
| Carol Singers, The | 50302-R, 50302-L, 50380-R, 50380-L, 50447-R, 50447-L |
| Case, Anna | 80757-R, 80757-L, 82078-R, 82310-R, 82310-L, 83059-R, 83059-L, 83064-R, 83064-L, 83073-R, 83073-L |
| Caso, Pietro | 80589-R |
| Chalmers, Donald | 50490-R, 50490-L, 50537-R, 50584-R, 50607-R, 80425-R, 80483-L |
| Chalmers, Thomas | 80064-L, 80127-R, 80172-L, 80174-L, 80184-R, 80276-R, 80321-R, 80506-R, 80512-R, 80520-R, 80599-L, 80643-R, 80729-R, 80729-L, 82055-R, 82055-L, 82266-L |
| Chapman, Walter | 80702-R, 80702-L |
| Cherniavsky, Jan | 80428-R, 80428-L, 80429-R, 80429-L |
| Cherniavsky, Leo | 80428-R, 80428-L, 80429-R, 80429-L |
| Cherniavsky, Mischel | 80428-R, 80428-L, 80429-R, 80429-L |
| Chiha, Lou "Frisco" | 50353-L |
| Ciccolini, Guido | 82183-R, 82266-R |
| Clark, Edward | 50924-R, 50924-L |
| Clark, Helen | 50370-R, 50490-L, 50577-L, 50606-R, 50606-L, 50611-R, 50646-R, 50664-L, 50678-L, 50682-R, 50682-L, 50699-L, 50903-L, 50979-L, 51068-L, 80145-L, 80411-R, 80434-L |
| Club de Vingt Orchestra | 50875-R, 50875-L |
| Collins, Arthur | 50001-R, 50001-L, 51021-R, 51392-R, 51392-L |
| Confrey, Zez | 50898-L |
| Congo Four | 51393-R, 51393-L |
| Conrad’s Orchestra | 50833-L |
| Conway's Band | 50582-R, 50582-L, 50614-R, 50652-R, 50693-R, 50693-L, 50706-L, 50712-R, 50732-R |
| Couturier, Ernst Albert | 50998-L, 51030-R |
| Cox, Marion Evelyn | 50610-L, 80465-L, 80469-L |
| Creatore And His Band | 50688-L, 50922-L |
| Crescent Trio | 50664-R, 50855-R |
| Criterion Quartet | 51295R, 51295L, 80483-R, 80514-R, 80519-L, 80651-R, 82145-R |
| Dalhart, Vernon (see also White, Robert) | 50516-L, 50819-R, 51351-L, 51428-L, 51430-L, 51459-R, 51459-L, 51492-L, 51609-R, 51609-L, 52487-R, 52487-L, 80360-L, 80406-L, 80519-R |
| De Leath, Vaughn | 52128-R, 52129-R, 52129-L |
| Denning, Robert | 51068-R, 51196-L, 51294-L |
| Deppen, Jessie L. | 50857-R, 50857-L |
| Doherty, James | 51391-L, 51414-R, 51525-R, 51525-L, 51819-R, 51819-L, 51914-R |
| Don Parker's Dance Orchestra | 51264-L |
| Donaghy, Harry | 50683-R, 50771-R, 50771-L, 50917-R |
| Earl Oliver's Jazz Babies | 51877-R, 51877-L |
| Edison, Charles | Holiday Greetings-L |
| Edison Concert Band | 50084-L, 50086-L, 50162-R, 50250-L, 80096-R, 80201-R, 80201-L |
| Edison Male Chorus | 52193-R, 52193-L |
| Edison Mixed Quartette | 80064-R |
| Edison, Thomas A. | 50509-R, Holiday Greetings-L |
| Edisonians, The | 52143-R, 52143-L |
| Ellerman, Amy | 50699-R, 80327-R, 80406-R, 80469-R, 80469-L, 80514-L, 82149-R, 82149-L |
| Ellison, Glen | 50484-R, 50484-L, 50675-R, 50675-L, 50858-R, 50858-L |
| Ernest L. Stevens' Trio (see also Stevens' Trio) | 50987-L, 51074-R |
| Ernest Stevens' Dance Orchestra | 51290-L |
| Errolle, Ralph | 80697-L |
| Fagan, Sibyl Sanderson | 80503-L, 80531-R |
| Falkenburg, Franz | 51065-R, 51065-L |
| Farrell, Marguerite | 50808-R, 50808-L, 50819-L |
| Farrier, Al | Holiday Greetings-R |
| Ferera | 50369-L, 50392-L, 50635-L |
| Ferrell, Louise (see also Lennox, Elizabeth; Terrell, Louise) | 50610-R |
| Fields, Arthur | 50433-L, 50443-R, 50518-R, 50584-L, 51955-R, 51955-L, 51980-L |
| Fish, Royal | 50227-R, 80174-R |
| Fisk University Jubilee Quartet | 51364-R, 51364-L |
| Fleming Trio, The | 80417-R, 80417-L |
| Flesch, Carl | 82349-R, 82349-L |
| Flint-Collin, Beatrice | 80247-R |
| Florida Four, The | 52231-R, 52231-L |
| Freer, Margaret A. | 50722-R |
| Friedman, Al And His Orchestra | 52365-R, 52365-L |
| Friedman, Al And His "Yoeng's" Orchestra | 52128-R |
| Frisco "Jass" Band | 50470-R, 50470-L |
| Frolickers, The | 51694-R, 51694-L |
| Frosini, Pietro J. | 50199-R, 50199-L, 50215-R, 50215-L, 50694-L, 50749-R, 50749-L, 51030-L, 51397-L |
| Gayler, Robert | 50448-R, 50591-R, 50591-L, 80419-R, 80419-L, 80641-L |
| Gaylor, Robert | 80687-R |
| Gaylord, Chester | 80613-L |
| Giammatteo, Anthony | 51397-R, 80063-R, 80589-R |
| Girard, Gilbert | 51189-L |
| Glantz, Nathan And His Orchestra | 51335-R, 51335-L, 51418-R |
| Golden, Billy | 50886-L |
| Golden Gate Dance Orchestra | 51388-R |
| Golden Gate Orchestra | 51491-R, 51491-L, 51580-R, 51633-R, 51661-R, 51661-L, 52547-R, 52547-L |
| Grant, Rachael (see also Rice, Gladys) | 50435-R, 50651-L |
| Green Bros. Novelty Band | 50700-R, 50700-L, 50711-R, 50800-R, 50800-L, 50854-R, 50854-L, 50993-L, 51177-R, 51212-R, 51212-L, 51293-R, 51418-L, 51492-R |
| Green Bros. Novelty Orchestra | 50554-R, 50554-L, 50685-L |
| Green, George Hamilton | 50584-R |
| Gregorian Choir | 80292-L |
| Hall, Arthur | 50537-L, 50607-R, 51351-R, 51492-R, 51555-R, 51614-R, 51633-R, 51661-R, 51661-L, 51674-R, Ford Special#1-L |
| Hall, Victor | 52322-R, 52322-L |
| Happiness Boys, The | 51430-R, 51555-L, 51704-R, 51704-L |
| Hare, Ernest | 50603-R, 50607-L, 50855-L, 50917-L, 51021-L, 51131-L, 51155-R, 51155-L, 51235-R, 51235-L, 51365-L, 51430-R, 51555-L, 51704-R, 51704-L |
| Harlan, Byron G. | 50001-R, 50300-L, 50518-L, 51021-R, 51392-R |
| Harmony Four, The | 50494-R, 50903-R, 80425-L |
| Harrison, Charles W. | 51738-R, 82516-L |
| Harrison, James F. | 80064-R |
| Harry Barth's Mississippians | 51243-R, 51243-L |
| Harry Raderman's Dance Orchestra | 51293-R, 51388-L |
| Harry Raderman's Jazz Orchestra | 50637-R, 50637-L, 50650-L, 50739-L, 50759-L, 50889-R, 50889-L, 51351-R |
| Harry Raderman's Orchestra | 51084-R |
| Harry Reser's Orchestra | 51877-R, 51877-L |
| Hart, Charles | 50683-R, 50704-R, 50771-R, 50771-L, 50863-L, 50917-R, 51087-R, 51413-R, 51413-L, 51582-R, 51582-L, 80643-L, 80759-R |
| Heinrich, Julia | 83042-L |
| Hempel, Frieda | 82171-R, 82171-L, 82145-R, 82198-R |
| Henry Ford's Old-Time Dance Orchestra | 52067-R, 52067-L |
| Herlihy, Joe And His Orchestra | 52098-R |
| Hildebrand, Bill | Holiday Greetings-R |
| Hillebrand, Fred. | 50603-L |
| Himmelreich, Ferdinand | 51254-R, 51285-R, 51285-L |
| Hindermyer, Harvey | 50763-R, 51131-R, 51196-R, 51582-L |
| Holt, Jack | 51068-R, 51196-L |
| Homestead Trio, The | 50699-R, 80406-R, 80411-L, 80469-R, 80514-L, 82149-R, 82149-L |
| Hood, Adelyn | 52487-L |
| Hooley, William | 50227-R |
| Hotel Biltmore Orchestra | 52128-L |
| Hotel Carlton Terrace Orchestra | 51614-R, 51614-L |
| Howard, Tom | 51877-R, 51877-L |
| Hudson, Byron | 51140-L |
| Huebner, Walter | Holiday Greetings-L |
| Hughes, Joe | 50886-L |
| Humphrey, Harry E. | 50999-R, 82078-L, 82534-L, 82536-L |
| Imperial Marimba Band | 50491-R, 50508-R, 50508-L, 51033-L |
| Jack Stillman's Orchestra | 51625-R, 51738-R, 51738-L |
| James, Lewis | 50577-R, 50610-R, 50611-L, 50639-R, 50639-L, 50704-R, 50704-L, 50722-L, 50859-L, 51227-R, 51251-R, 51251-L, 51284-R, 51284-L, 80503-L, 80667-R |
| Jaudas' Band | 50428-R, 50438-R, 50438-L |
| Jaudas' Society Orchestra | 50291-R, 50291-L, 50353-R, 50388-R, 50388-L, 50425-R, 50425-L, 50428-L, 50504-R, 50504-L, 50510-R, 50510-L |
| Jazzarimba Orchestra | 50523-L |
| Jones, Ada | 50490-R, 50516-R, 50689-R |
| Jones, Billy | 50683-R, 50771-R, 50771-L, 50855-L, 50917-R, 50917-L, 50928-R, 51140-R, 51131-L, 51155-R, 51155-L, 51235-R, 51235-L, 51294-R, 51360-R, 51365-L, 51374-R, 51430-R, 51555-L, 51704-R, 51704-L, 80425-R |
| Jones, Reese | 50494-L |
| Jorn, Karl | 73006-R, 80524-R |
| Joseph Knecht's Waldorf-Astoria Dance Orchestra | 51080-L |
| Kamern, Henrietta on the Möller Organ | 52373-R, 52373-L, 52376-R, 52376-L, 52429-R, 52429-L |
| Kamplain, Frank M. | 50651-R, 51115-R |
| Kaplan's Melodists | 50941-L, 51080-R, 51084-L, 51090-R, 51111-R, 51111-L, 51156-R, 51177-L, 51189-L, 51304-L, 51305-L, 51351-L, 51389-L, 51413-L, 51689-R, 51791-R |
| Kaufman, Irving | 50370-L |
| Kennedy, Dorothy | 80683-L |
| Kennedy, Lauri | 80683-L |
| Kerr, Thompson B. | 52276-R, 52276-L |
| Kimball, Agnes | 82516-L |
| Kimmel, John J. | 50604-R, 50604-L, 50674-R |
| Kinsley, Frederick on the Midmer-Losh Pipe Organ | 51879-R, 51879-L, 51915-R, 51915-L, 51918-R, 51918-L, 51924-R, 51924-L, 51936-R, 51936-L, 51937-R, 51937-L, 51955-R, 51955-L, 51957-R, 51957-L, 51965-R, 51965-L, 51969-R, 51969-L, 51987-R, 51987-L, 52030-R, 52030-L, 52054-R, 52054-L, 52081-R, 52081-L, 52117-R, 52117-L, 52303-R, 52303-L, 80799-R, 80799-L, 80800-R, 80800-L, 80827-R, 80827-L, 80841-R, 80841-L, 80844-R, 80844-L, 80849-R, 80849-L, 80851-R, 80851-L, 80854-R, 80854-L, 80857-R, 80857-L, 80860-R, 80860-L |
| Kinsley, Frederick on the Wurlitzer Organ | 51990-R, 51990-L |
| Kirwan, Charlotte | 80100-L |
| Knickerbocker Grill Orchestra | 51625-L, 51633-L |
| Knickerbocker Quartet | 50265-R, 50265-L |
| Kolodkin, Herman | 80641-L |
| Kryl, Bohumir | 80531-L, 80578-R |
| Lange, Henry W. | 50898-R |
| Lanin's Orchestra | 50865-R, 50865-L |
| Laurenti, Mario | 82183-L |
| Lazzari, Carolina | 82183-L, 82554-R, 82554-L |
| Lennox, Elizabeth (see also Ferrell, Louise; Terrell, Louise) | 50686-L |
| Lenzberg's Riverside Orchestra | 50593-L, 50628-R, 50645-R, 50679-R, 50679-L, 50709-L, 50711-L, 50759-R |
| Lett, Robert | 50153-L |
| Lilienfeld, Louis | 52128-L |
| Linder, Joe | 50604-R, 50604-L, 50674-R |
| Lindquest, Albert | 80512-L |
| Lopez & Hamilton's Kings of Harmony Orchestra | 50649-R, 50650-R |
| Louise | 50392-L, 50635-L, 50369-L |
| Louisiana Five | 50622-L |
| Lovett, Benj. B. | 52067-R, 52067-L |
| Luhr, Charlie | Holiday Greetings-L |
| Lyric Male Quartet | 80503-R |
| MacDowell Sisters | 51368-R, 51368-L |
| MacGuigan, Madeleine | 80687-R |
| Maitland, Rollo on the Midmer-Losh Pipe Organ | 52006-R, 52006-L, 52291-R, 52291-L, 52338-R, 52338-L | Manhattan Male Quartett | 57008-R, 57008-L |
| Manhattan Quartet | 50187-L |
| Matzenauer, Margaret | 82266-L |
| Max Fells' Della Robbia Orchestra | 50709-R, 50717-L, 50739-R, 50774-R |
| McNalpak's Dance Orchestra | 51230-R |
| McQuhae, Allen | 80626-R, 80626-L |
| Meadowbrook Dance Orchestra | 51455-L |
| Meeker, Edward | 50490-L, 50651-L, 50771-L, 50886-R |
| Merry Sparklers, The | 51288-R, 51288-L, 51313-L |
| Metropolitan Quartet | 50763-L, 80113-R, 80098-R, 80127-L, 80172-R, 80184-L, 80321-L, 80343-R, 80343-L, 80355-R, 80355-L, 80465-R, 80581-R, 80581-L, 80588-L, 82033-R, 82033-L |
| Meyer, May A. | 51218-R, 51218-L |
| Middleton, Arthur | 80360-R, 80667-L, 82145-L, 82198-L, 82221-R, 82221-L, 82266-R, 82266-L, 82534-R, 83042-R |
| Miller, Christine | 80100-R, 80416-R |
| Miller, Walter | Holiday Greetings-R |
| Monde, Anthony | 51617-R, 51617-L, 51701-R, 51701-L |
| Moonlight Trio, The | 80434-R |
| Morris, Mel. | 52391-R, 52391-L |
| Morrisey, Marie | 80350-R |
| Moskowitz, Isidore | 50958-R |
| Murray, Billy | 50227-R, 50227-L, 50435-R, 50443-L, 50490-R, 50490-L, 50516-R, 50537-R, 50584-R, 50638-R, 50638-L, 50651-L, 50689-R |
| Murray, Charles J. | 51074-R |
| Murray, J. Harold | 51087-L |
| Murray Kellner's Dinner Music Ensemble | 52122-R, 52122-L |
| Muzio, Claudia | 82232-R, 82232-L |
| Myers, William | 50300-R |
| National Male Quartet | 51758-R, 51758-L |
| National Promenade Band | 50078-R, 50217-R, 50349-R |
| Natzy's Orchestra | 50993-R |
| New York Light Opera Co. | 80251-R, 80251-L, 80797-R, 80797-L, 82516-R |
| New York Military Band | 50145-R, 50145-L, 50162-L, 50169-R, 50169-L, 50176-R, 50176-L, 50185-R, 50185-L, 50187-R, 50358-R, 50358-L, 50410-R, 50410-L, 50426-R, 50486-R, 50486-L, 50507-R, 50507-L, 50509-L, 50547-R, 50547-L, 50598-L, 50636-R, 50636-L, 50652-L, 50671-R, 50671-L, 50677-R, 50677-L, 50688-R, 50712-L, 50732-L, 50812-L, 50853-R, 50853-L, 50904-L, 80176-R, 80176-L |
| Oakland, Will | 50586-R |
| Olson, Ethel C. | 50942-R |
| Oratorio Chorus | 80292-R |
| Orlando's Orchestra | 50774-L |
| Orpheus Male Chorus, The | 80395-R, 80395-L |
| Osborne, Harry (see also Stevens, Ernest L.) | 51326-L |
| O’Shaughnessy, Bill | Holiday Greetings-R |
| Palais D'Or Orchestra | 51791-L, 51810-L |
| Palakiko's Hawaiian Orchestra | 51033-R |
| Parker, J. Donald | 52098-L |
| Paul Victorin's Orchestra | 51189-R |
| Peerless Orchestra | 50812-R, 50842-R, 50842-L, 80579-R, 80579-L |
| Perkins, Ray | 51192-R, 51192-L |
| Philips, Gene | Holiday Greetings-L |
| Phillips, Joseph A. | 50227-R, 50370-R, 50606-R, 50606-L, 50611-R, 50646-R, 50664-L, 50682-L, 50903-L, 80214-R, 80214-L |
| Piccadilly Players | 52391-R, 52391-L |
| Pinto, Anna | 50998-R |
| Polla's Clover Gardens Orchestra | 51455-R, 51492-L |
| Porter, Steve | 50153-R, 50227-R, 50490-R, 50490-L, 50537-R, 50584-R, 50607-R, 50683-R, 50771-R, 50771-L, 50917-R, 80425-R |
| Premier Quartet | 50490-L, 50537-R, 50584-R, 50607-R, 50683-R, 50771-R, 50771-L, 50917-R, 80425-R |
| Rachmaninoff, Sergei | 82169-R, 82169-L, 82170-R, 82170-L, 82187-R, 82187-L, 82197-R, 82197-L, 82202-R, 82202-L |
| Radio Franks, The | 51391-R, 51640-R, 51640-L, 51653-R, 51653-L |
| Randolph, Emory B. | 80145-R |
| Rappold, Marie | 73006-L, 82201-L, 82266-L, 82536-R, 83076-R, 83076-L |
| Ray, Huston | 51034-L |
| Rea, Virginia | 80524-L |
| Reed, Gus | 51891-R, 51891-L |
| Reed Orchestra | 80687-L |
| Reneau, George | 51422-R, 51422-L |
| Rice, Gladys (see also Grant, Rachael) | 50516-L, 50699-R, 51227-L, 80406-R, 80465-L, 80469-R, 80469-L, 80514-L, 80519-R, 82149-R, 82149-L |
| Rio, Anita | 80277-R |
| Rodeheaver, Homer | 50228-R, 50228-L, 51399-R, 51399-L |
| Rogers, Allan | 50859-R |
| Rolfe, B. A. | 51791-L, 51810-L, 52143-R, 52143-L |
| Rollickers, The | 52188-R, 52188-L |
| Romain, Manuel | 50465-R, 50465-L, 50503-R, 50503-L, 50586-L |
| Rondalla Uzandizaga (Spanish String Ensemble) | 60069-R, 60069-L |
| Ruhrseitz, Kurt | 82349-R, 82349-L |
| Russian Balalaika Ensemble | 80650-L |
| Ryan, John | 51555-R, 51661-R, 51661-L |
| Ryan, Johnny | 51791-R |
| Sam Patterson Trio, The | 51644-R, 51644-L |
| Samuels, Joseph | 50900-R |
| Scanlan, Walter (see also Van Brunt, Walter) | 50863-R, 50979-L, 51115-L, 51219-R, 51374-L, 51414-L, 51506-R, 51506-L, 51914-L, 51969-R, 51969-L, 52199-R, 52199-L, 52276-R, 52276-L |
| Scanlon, Patrick J. | 50500-L |
| Schmitz, E. Robert | 50958-L |
| Schuster, Joe | 51980-R |
| Scott, Henri | 82266-R |
| Shannon Quartet | 50460-R, 80436-R |
| Sharpe-Minor, C. on the Wurlitzer Organ | 52064-R, 52064-L |
| Shearman, John | Holiday Greetings-L |
| Shepherd, Betsy Lane | 50639-R, 50686-L, 50699-R, 50704-L, 50819-R, 51227-L, 80350-L, 80406-R, 80469-R, 80469-L, 80489-R, 80489-L, 80506-L, 80514-L, 80599-R, 80651-L, 80697-R, 80760-R, 80760-L, 82149-R, 82149-L |
| Sisson, Allen | 51690-R, 51690-L, 51720-R, 51720-L |
| Skolnik, Gregor | 50104-L |
| Skolnik, Gregor And His Orchestra | 80784-R, 80784-L |
| Smith, Dennis L. | 50500-L |
| Sodero's Band | 50217-L, 50250-R, 50304-R, 50304-L, 50323-R, 50323-L, 50335-R, 50335-L, 50426-L, 50598-R, 50614-L, 50706-R, 50881-R, 50881-L, 51213-R, 51213-L, 80128-R, 80128-L, 80216-R, 80216-L |
| Southern Four, The | 51364-R, 51364-L |
| Spalding, Albert | 82047-R, 82047-L, 82172-R, 82172-L, 82212-R, 82212-L, 82307-R, 82307-L, 82536-R |
| Speciale, Mike | 51614-R, 51614-L |
| Spencer, Elizabeth | 50717-R, 50863-L, 51087-R, 51087-L, 80098-L, 80113-L, 80160-L, 80247-L, 80276-R, 80327-L, 80643-L, 80759-L |
| Spindler, Julius | 80063-R |
| Stacks, Tom | 51877-R, 51877-L |
| Stevens, Ernest L. (see also Osborne, Harry) | 50960-R, 50987-L, 51034-R, 51074-R, 51105-R, 51105-L, 51208-R, 51208-L, 51326-R, 51326-L |
| Stevens' Trio (see also Ernest L. Stevens' Trio) | 51264-R, 51290-R |
| Stewart, Cal | 50260-R, 50260-L, 50263-R, 50263-L, 50264-R, 50264-L, 50689-R, 50689-L, 50942-L |
| Stoneman, Ernest V. | 51823-R, 51823-L |
| Suerth, Paul | 80578-R |
| Taussig, Leo | 50097-R |
| Tennessee Happy Boys | 51674-R, 51674-L |
| Terrell, Louise (see also Ferrell, Louise; Lennox, Elizabeth) | 50678-R |
| Teyte, Maggie | 82163-R, 82163-L |
| Thrall | 50987-L |
| Three Vagrants, The | 50900-L |
| Tiffany, Marie | 82139-R, 82139-L |
| Tilley, Herbert C., Jr. | 50979-R |
| Toots Paka's Hawaiians | 50670-R |
| Top Notchers, The | 51389-R |
| Tuxedo Dance Orchestra | 50549-R, 50549-L, 50619-R, 50622-R, 50649-L |
| United States Marine Band | 50895R, 50895L, 50904-R, 50922-R, 51170-R, 51170-L, 51311-R, 51311-L, 51483-R, 51483-L |
| Van Brunt, Walter (see also Scanlan, Walter) | 50083-R, 50083-L, 50343-L, 50678-L, 51002-R, 51002-L, 80118-R, 80118-L, 80160-R, 80160-L, 80227-R, 80227-L, 80255-R, 80255-L, 80293-R, 80293-L, 80411-R. 80436-L |
| Vecsey, Armand and His Hungarian Orchestra | 80294-R, 80294-L |
| Venetian Instrumental Quartet | 50052-L, 50053-R, 50061-R, 50065-L, 50097-L |
| Venetian Instrumental Trio | 50061-L |
| Veo, Harold | 50500-R |
| Verlet, Alice | 82266-R |
| Vess L. Ossman's Banjo Orchestra | 50349-L |
| Viley, Charles | Holiday Greetings-L |
| Vincent Lopez Orchestra | 50960-L, 50987-R |
| Violin, Mischa | 80641-R, 80683-R |
| Wadsworth, Wheeler | 50635-R |
| Waikiki Hawaiian Orchestra | 50392-R, 50369-R, 50635-L, 50670-L, 51436-R, 51436-L, 51665-R, 51665-L, 51950-R, 51950-L |
| Walsh, Art | Holiday Greetings-R |
| Watson, George P. | 50383-R, 50383-L |
| We Girls Quartet | 80469-L |
| Weiss, Anton | 50104-R |
| Wheeler, Frederick J. | 80064-R, 80276-L |
| White, Edna | 80613-R, 80650-R |
| White, Robert (see also Dalhart, Vernon) | 51221-R, 51428-L |
| Wiedoeft, Rudy | 80578-L, 80589-L |
| Wiedoeft-Wadsworth Quartet | 50685-R |
| Williams, Sumner | Holiday Greetings-L |
| Williamson, Hardy | 80277-L, 80588-R |
| Willie Creager's Dance Orchestra | 51230-L |
| Wright | 51391-R, 51640-R, 51640-L, 51653-R, 51653-L |
| Yellman, Duke And His Orchestra | 51689-L, 51806-R, 51806-L, 51810-R, 51835-R, 51835-L, 51980-R, 51980-L, 52098-L |
| Yoeng's Orchestra | 52128-R |
| Young, John | 50227-R, 50490-R, 50490-L, 50537-R, 50584-R, 50607-R, 80064-R, 80276-L, 80425-R |
| Young, Victor | 51254-L |
| Zenatello, Giovanni | 82201-R, 82201-L, 82266-L |
| Zoellner String Quartette | 80600-R, 80600-L |
COMPOSER/LYRICIST/AUTHOR INDEX
| Abbott, L. W. | 50857-R |
| Abrahams, Maurice | 52188-R |
| Ackley, A. H., Rev. | 51399-L |
| Ackley, B. D. | 50228-R |
| Ackman, Herman | 51937-L |
| Adam, Adolphe | 82055-R, 82171-L |
| Adam, Leon | 80687-L |
| Adams, A. Emmett | 50722-L |
| Adams, Stephen | 80360-L |
| Ager, Milton | 50537-R, 50679-R, 51189-R, 51414-R, 51674-R |
| Ahlert, Fred E. | 51389-R, 80844-R |
| Akst, Harry | 51282-R, 51326-R, 51580-L, 51694-L, 51980-L |
| Alau, Jack | 51368-L |
| Ambrose, R. S. | 51879-L, 80127-R |
| Ancliffe, Charles W. | 50392-R |
| Anderson, Will R. | 50494-L |
| Andre, Ludwig | 50065-L |
| Archer, Harry | 51351-R |
| Arden | 50628-L |
| Arndt, Felix | 50960-L |
| Arne | 50185-L |
| Ascher, J. | 80697-L |
| Akst, Harry | 51293-R |
| Austin | 51335-L |
| Austin, Gene | 51428-R |
| Avrill, Charles | 51002-R |
| Bach, (Johann Sebastian) | 80419-L, 80641-L, 82536-R |
| Baer, Abel | 52231-R |
| Baermann, Ch. | 51397-R |
| Bagley, E. E. | 50358-L |
| Bailey, Carolyn S. | 50999-L |
| Bailey, Edna | 50411-L |
| Baker, Clyde | 51640-R |
| Baker, Phil | 51634-R |
| Ball | 50083-L, 80255-R, 80293-R |
| Ball, Ernest R. | 50704-R, 50859-R |
| Ball, R. B. | 50410-L |
| Ball, Rae Eleanor | 51245-L |
| Bannister, Frank | 51351-L |
| Barnes, Bernard | 52122-R |
| Bartlett, J. C. | 80759-R |
| Baskette, Billy | 50443-R, 52547-L |
| Bates, Chas. | 51428-L |
| Baum | 82310-R |
| Bazzini, Antonio | 80518-R, 80518-L |
| Beethoven, L. van | 80419-R, 80775-R, 80775-L, 80857-R |
| Behr, Franz | 50250-L |
| Belasco | 50491-L |
| Belledna, Alex | 50610-L |
| Bellini | 80063-R |
| Belmont, Joe | 50300-L |
| Berchman, Henri | 51914-L |
| Berg, Harold | 51633-R/td> |
| Berger, Kitty | 50694-R |
| Bergere | 51335-L |
| Bergere, Roy | 51428-R |
| Berlin, Irving | 50603-L, 50638-R, 50645-L, 50646-L, 50865-L, 51100-R, 51100-L, 51506-R, 51625-R, 51674-L, 51689-R, 51708-R, 51708-L |
| Bernard, Al | 50603-R, 50607-L, 51021-L, 51115-R, 51360-L |
| Bernard, F. | 50637-R |
| Bernie, Ben | 51388-L |
| Bernie, Saul | 51633-L |
| Bessinger | 51614-R |
| Bibo, Irving M. | 51177-L |
| Bigelow | 50732-R |
| Bigelow, Bob | 51428-L |
| Bigelow, F. E. | 50706-L |
| Bishop | 80489-R |
| Bizet | 82172-L |
| Black, J. M. | 80276-L |
| Black, J. S. | 50637-R |
| Blake, James W. | 51374-R |
| Blamphin | 80514-R |
| Blaufuss, Walter | 50649-L, 52122-L |
| Bliss, P. P. | 52030-L, 52081-R |
| Blon, Franz von | 80096-L |
| Boardman, Geo. | 80512-L |
| Boccalari, E. | 50582-R |
| Boehme, J. G. | 50410-R |
| Bohannon, M. T. | 51891-R |
| Bohm, Carl | 51065-L, 80489-L |
| Boisdeffre, René de | 80429-R |
| Boland, Clay | 51413-R |
| Bonx, Nat | 51580-R |
| Bosc, Auguste | 50086-R, 50853-L |
| Boyer, Lucien | 51738-R |
| Braga, Gaetano | 52291-R |
| Braham, Philip | 51305-R |
| Breau | 50863-L |
| Brennan | 80434-R |
| Brennan, James A. | 51235-R |
| Brinley | 51065-R |
| Britt, Addy | 51625-L, 51808-L, 52303-R |
| Brockman | 50610-R, 50711-L |
| Brockman, James | 51455-R |
| Brooks, Ruth | 80844-R |
| Brown, Lew | 51212-R, 51555-L, 51580-R, 51937-R, 52143-L, 52199-L, 52391-L |
| Brown, Nacio Herb | 50875-L |
| Bryan, Alfred | 51808-L |
| Buck | 80514-R |
| Burke | 50759-R |
| Burke, Joe | 51810-L, 51924-L |
| Burke, Jos. A. | 50503-R |
| Caddigan | 80434-R |
| Caesar, Irving | 51418-L |
| Callahan | 50650-R |
| Capolongo | 50900-L |
| Capua, E. di | 51701-R |
| Carey, Henry | 50169-R, 80172-R |
| Carlo | 50863-L |
| Carlo, M. | 50586-R |
| Carlton, Carle | 51351-R |
| Carroll, Harry | 50083-L, 50227-R |
| Carter, T. M. | 50145-L |
| Caryll, Ivan | 80214-L |
| Catalani | 82232-R |
| Cawley | 50622-L |
| Chambers, William P. | 50812-L, 51213-L |
| Chaminade | 82172-L |
| Chapman | 80702-R |
| Charig, Philip | 52098-L |
| Charles, Jacques | 51738-R |
| Chopin, F. | 50922-R, 50958-L, 80408-L, 82197-L, 82202-R, 82212-L |
| Clapp, Sunny | 52376-R |
| Clare, Sidney | 51196-L, 51455-L |
| Claribel | 80113-R |
| Clark, Edward | 50924-R, 50924-L |
| Clarke | 50537-R, 50685-R |
| Clarke, Herbert L. | 80650-R |
| Clephane, Elizabeth C. | 52487-L |
| Coard, Henry A. | 80760-R |
| Cobb, George L. | 50622-R |
| Cohan, George M. | 50443-L, 50941-R, 80425-R |
| Cohn, Chester | 51791-L |
| Cohn, Irving | 51177-R |
| Coleman, Arthur | 51665-L |
| Colwell, Lew | 51351-L |
| Confrey, Zez | 50898-L |
| Connor, Joseph | 51090-L |
| Conrad | 50763-R, 51084-R |
| Conrad, Art | 51219-L |
| Conrad, Con | 50889-L, 50993-R, 51155-R, 51177-L, 51365-L, 51633-L, 51808-R |
| Conrad, Henry | 50833-L |
| Converse, Charles G. | 80581-R |
| Cooke | 50854-L |
| Cooper, Bud | 51290-L |
| Cooper, John | 50611-L |
| Coots, J. Fred | 52547-R |
| Coslow, Sam | 52303-R |
| Costello, Bartley | 51436-R |
| Cowan, Rubey | 51335-L |
| Crawford, Clifton | 50510-R |
| Creamer, Henry | 51392-L, 51634-L |
| Crosby, Fanny | 80277-L |
| Crouch | 50998-R |
| Crouch, F. W. N. | 80064-L |
| Cunha, Sonny | 50392-L |
| Curtis, Loyal | 51918-R |
| D’Agostino, A. | 50958-R |
| Daily, Lewis | 51791-R |
| Dash, Irwin | 51365-R |
| David, Félicien | 82078-R |
| David, Lee | 50619-R, 51914-R |
| Davidson, Morey | 52054-R |
| Davis, Benny | 51282-R, 51293-R, 51326-R, 51808-R, 51810-L, 51924-L, 51955-L, 51980-L, 52199-R |
| Davis, Lou | 51937-L, 52547-R |
| de Coen, E. | 51105-L |
| de Giosa, N. | 80524-L |
| De Koven, Reginald | 50104-R, 80797-R, 80797-L |
| De Lara, Isidore | 80697-R |
| de Leath, Vaughn | 80651-R |
| De Marbelle, Dion | 51582-R |
| De Martini, Henri | 51034-R |
| de Moya | 51969-L |
| De Rose, Peter | 50678-R, 51990-R |
| de Sarasate, Pablo | 80641-R |
| De Sylva, B. G. | 51418-R, 51491-R, 52054-L, 52143-R, 52143-L, 52199-L, 52391-L, 80849-L |
| De Sylva, Bud | 51304-R |
| De Voll, Cal | 80465-L |
| Dempsey | 50001-R |
| Denni, Lucien | 50486-R |
| Denza, L. | 82183-R |
| Deppen, Jessie L. | 51033-L, 52188-L |
| D'Hardelot, Guy | 52338-R |
| Di Capua | 51254-R |
| Dixon, Mort | 51758-R |
| Donaldson | 50685-R, 50875-R |
| Donaldson, Walter | 50518-L, 51140-R, 51653-R, 52006-L, 52122-L, 52128-R, 52373-L |
| Donaldson, Will | 51221-R, 51221-L |
| Donizetti | 82183-L, 82266-R, 82266-L |
| Dougherty, Dan | 51704-L |
| Dowling, Eddie | 51924-R, 52303-L |
| Drdla, Franz | 80857-L |
| Dreyer, Dave | 51414-L |
| Drigo, Riccardo | 51243-R, 80294-R |
| Dryer, Dave | 52117-R |
| Dubin, Al | 51245-R, 51264-R, 51365-R, 51393-R |
| Dulmage, Will E. | 50685-L |
| Dvořák, Anton | 52291-L, 82047-R |
| Dykes, John B. | 80127-L, 80827-L |
| Earl, Mary | 50670-L, 50704-L, 80465-R |
| Egan | 50774-R, 50917-L |
| Egan, Jack | 50494-R |
| Eilenberg, R. | 50176-L |
| Elgar, Edward | 80851-R |
| Elliott, Zo | 50343-R, 82145-R |
| Ellis, Charles T. | 50383-R |
| Engelmann | 50113-R |
| Eppel | 50428-L |
| Etting, Ruth | 52231-R |
| Fairman, George | 50649-R, 51080-R |
| Fall, Richard | 51492-R |
| Faure, J. | 80854-R, 82055-L |
| Fearis, J. S. | 80064-R |
| Felix | 50679-L |
| Ferera | 51950-R, 51950-L |
| Ferris, Wm T. | 51791-R |
| Fillmore, Henry | 50598-L |
| Fink, William | 51254-L |
| Fiorito, Ted | 51491-L, 51492-L, 51614-L, 51653-L, 52373-R |
| Fischer, Fred | 80227-R |
| Fisher, Fred | 50686-R, 50800-R, 50827-R, 51293-L, 51393-L, 80406-L |
| Fisk, S. | 50586-L |
| Flesch | 82349-L |
| Fletcher, Archie | 51835-R |
| Flotow | 80327-L |
| Foster, Stephen C. | 51295-R, 80321-R, 80729-R, 83059-L |
| Frankl | 50584-L |
| Franko | 80641-L |
| Fraser | 50842-L |
| Frey, Hugo | 50438-L, 50549-L |
| Friedemann, Carl | 50582-L |
| Friedland, Anatol | 80160-L |
| Friend | 51084-R |
| Friend, Cliff | 50993-R, 51196-L, 51758-L, 51806-L, 51915-L, 51937-R, 80844-L |
| Friml, Rudolf | 50832-R, 50941-L, 51264-L, 51506-L, 80841-R |
| Frosini | 50199-R, 50199-L, 50215-R, 50215-L, 51397-L |
| Fyles | 50169-L |
| Gabriel, Chas. H. | 50228-L, 51399-R |
| Ganne, L. | 51311-R |
| Gardner, Jack | 52098-R |
| Gardner, Wm. H. | 80411-L |
| Garren, Joe | 51245-R, 51264-R |
| Gaul | 80757-R |
| Gaul, A. R. | 80520-R |
| Gauntlett, H. J. | 50302-L |
| Gay | 50227-L |
| Gay, Byron | 50554-L, 50593-R, 50833-R, 51877-R |
| Geibel, Adam, arr. | 80519-L |
| Gensler, Lewis | 51491-R |
| Gerber, Alex | 51580-L |
| Gershwin, George | 50651-R, 51074-L, 51418-R |
| Gilbert | 51313-R, 80251-R, 80251-L |
| Gilbert, Jean | 80214-R |
| Gilbert, L. Wolfe | 51111-R, 51388-R, 51492-R, 51810-R, 52231-R, 52231-L, 52376-L, 52429-R |
| Gilberte, Hallett | 80469-R |
| Gillet, Ernest | 50053-R |
| Gillette | 50855-R |
| Gillette, Gladys | 51388-L |
| Glogau, Jack | 50763-L |
| Godard | 82212-R |
| Godard, Benjamin | 80408-R |
| Golden, Ernie | 51987-L |
| Goodman, Alfred | 51090-R |
| Goodman, Lillian Rosedale | 51969-R |
| Goodwin | 50584-R |
| Gottler | 50584-L |
| Gottschalk, Louis M. | 51285-R |
| Gould, Raymond V. | 50928-L |
| Gounod, Ch. | 52193-R, 80643-R, 82536-R, 83076-R |
| Grafulla, C. S. | 50732-R |
| Grafton, Gerald | 50484-R |
| Gray, W. B. | 80360-R |
| Green, Ab. | 52117-L |
| Green, Abel | 51689-L |
| Green, Bud | 51614-R, 51694-R, 51704-R, 51704-L |
| Greene, May | 50591-R |
| Greer, Jesse | 51633-R, 51689-L |
| Grey, Clifford | 51738-R |
| Grey, Frank H. | 50979-R |
| Grieg, E. | 80216-R, 80216-L, 80429-R, 82349-L |
| Grossman, Bernie | 51227-R |
| Gruber, Franz | 80643-L, 80854-L, 82171-R |
| Guion, David W. | 80651-L |
| Gutmann, Fr. | 50061-R |
| Hadley, Henry | 80483-R |
| Hager | 80503-L |
| Hager, Fred | 50547-L |
| Hahn | 80599-R |
| Hall, John T. | 50065-R |
| Hall, R. B. | 52064-L |
| Hall, W. W. | 51111-L |
| Hall, Wendell | 51430-R |
| Hamblen, Bernard | 80729-L |
| Hamilton, Spike | 52098-R |
| Hammerstein, Oscar, 2nd | 51506-L, 51936-R, 80841-R |
| Handel, G. F. | 50053-L, 50304-L, 80277-R, 80292-R, 80419-R, 80757-L, 82139-R, 83042-R, 83042-L |
| Handman, Lou | 51414-L |
| Handy, W. C. | 50349-R, 50523-R, 50650-L |
| Hanley | 50584-R, 50832-L |
| Hanley, James F. | 51634-L, 51924-R, 52303-L |
| Harbach, Otto | 51506-L, 51936-R, 80841-R |
| Harbour, J. L. | 50411-R |
| Harriman | 50917-L |
| Harris, Chas. K. | 50577-R |
| Harrison, Annie Fortescue | 80145-R |
| Harriss, Charles A. E. | 80760-L |
| Hastings, Dr. Thos. | 52081-L |
| Hawthorne, Alice | 50678-L |
| Hayden, George | 51990-L |
| Haydn, Josef[ph] | 50187-L, 80600-L |
| Heagney, Billy | 52064-R |
| Heath, Bobby | 51835-R |
| Heed, J. C. | 51170-R |
| Heller, M. | 50291-L |
| Henderson, Ray | 51212-L, 51235-L, 51555-L, 51640-L, 51661-L, 51758-R, 52143-L, 52199-L, 52391-L |
| Henry, S. R. | 50549-R |
| Henshaw, Mack | 51235-R |
| Herbert, Eugene | 51288-L |
| Herbert, Victor | 50358-R, 51087-L, 51156-R, 80756-L, 80849-R, 80849-L |
| Herscher | 50759-R |
| Herscher, Lou | 51525-R |
| Herzer, Wallie | 50635-L |
| Hicky, Billy | 51294-L |
| Hildreth | 50732-R |
| Hill, Billy | 51326-L |
| Hill, May | 50370-L |
| Hilliam, B. C. | 82145-L |
| Himmelreich | 51254-R |
| Hirsch | 51094-L |
| Hoffmann von Fallersleben, Heinrich | 50187-L |
| Holden, Oliver | 80355-L |
| Holden, Sidney | 51393-L |
| Hollingsworth, Thekla | 52188-L, 52322-L |
| Holmer | 50855-R |
| Holzmann, Abe | 50652-R, 51105-R |
| Hopkinson, J. | 50169-L |
| Howard | 80100-L |
| Howard, George P. | 51990-L |
| Howard, Richard | 51036-L |
| Hubbell, Raymond | 50428-R, 80799-L |
| Hughes, Herbert | 80626-L |
| Huntley, William A. | 82310-L |
| Hupfeld, Herman | 52128-L |
| Ivanovici, J. | 82198-R |
| Jacobi, Victor | 50639-R, 50639-L |
| Jacobs-Bond, Carrie | 50291-R |
| Jaffe, Moe | 51580-R |
| Jakobowski, Ed. | 80113-L |
| Jenkins, Rev. Andrew | 51609-L |
| Jensen, Adolf | 51218-L |
| Jerome | 50819-L |
| Jerome, M. K. | 51230-R, 80406-R |
| Jessel, Leon | 50693-R, 50987-R, 51192-L, 51196-R |
| Johnson | 50711-L |
| Johnson, E. Arnold | 50470-L |
| Johnson, George | 51436-L |
| Johnson, Herbert | 52030-R |
| Johnson, Howard | 50433-L |
| Johnson, J. C. | 52391-R |
| Johnston, A. | 80506-L |
| Jolson, Al | 51304-R, 51491-R, 52117-R, 52391-L |
| Jones, Isham | 51208-L, 51243-L |
| Joyce, Archibald | 50504-L |
| Joyce, Billy | 51294-L |
| Kahn, Gus | 51491-L, 51492-L, 51525-L, 51555-R, 51614-L, 51653-R, 51653-L 51806-L, 51918-R |
| Kalmar | 50682-R, 50827-L |
| Kalmar, Bert | 51227-L |
| Kalmar, H. | 50646-R |
| Katscher, Dr. Robert | 52054-L, 52143-R |
| Kaufman, Mel B. | 50388-R, 50470-R, 50593-L |
| Kawelo, Ioane | 80514-L |
| Keith, R. Austen | 880411-R |
| Kendall, Edwin F. | 50084-R |
| Kendis | 50610-R, 50711-L |
| Kern, Jerome | 50435-R, 50510-L, 50739–L, 80434-L |
| Kerr | 50771-R |
| Kerr, Harry D. | 51374-L, 51640-R |
| Kerr, U. S. | 80524-R |
| Ketèlbey, Albert W. | 50812-R |
| Key, Francis Scott | 50169-L, 80172-L |
| Kimmel, John J. | 50604-R, 50604-L, 50674-R |
| King, Robert | 51392-L |
| Kjerulf, Halfdan | 80327-R |
| Klages, Raymond | 51689-L, 51987-L, 52006-R |
| Klickmann, F. Henri | 50577-L, 50607-R, 50664-R |
| Knapp, Mrs. Joseph F. | 80277-L |
| Kneass, Nelson | 50104-L |
| Kortlander, Max | 50700-L, 50993-L |
| Kreisler, Fritz | 82172-L, 82307-R, 83064-R |
| Kreutzer | 57008-R |
| Labitzky, Aug. | 50097- L |
| Lada | 50622-L |
| Lamb | 50300-R |
| Lamb, Arthur J. | 51891-L |
| Lange, Arthur | 50433-R |
| Lange, G. | 50052-L |
| Lauder, Harry | 50484-R, 50484-L, 50675-L, 50858-L, 50858-R |
| Lawlor, Chas. B. | 51374-R |
| Lecocq, Ch. | 80519-R |
| Lee, Dorothy | 50426-L |
| Lehar, Franz | 50842-R, 80294-L, 80531-R |
| Leighton Bros. | 50886-R |
| Lemon, Laura G. | 82163-R |
| Lenzberg, Julius | 50217-L, 50349-L |
| Leonard, Harold | 51808-L |
| Leoncavallo | 82232-L |
| Leoni, Franco | 83073-L |
| Leslie, Edgar | 51877-L |
| Levy, Sol. P. | 50682-L |
| Lewis | 51640-L, 51661-L, 51965-R, 52365-L, 52373-R |
| Lewis, Sam | 51955-R, 52188-R |
| Lewis, Sam M. | 51694-L, 80844-R |
| Lewis, Ted | 51094-R |
| Ley, Benton | 51293-R |
| Liliuokalani | 50706-R |
| Lincke, Paul | 50323-R, 80469-L |
| Liszt, Franz | 80417-L, 80702-L, 80800-L, 82169-R, 82169-L, 82170-R |
| Lithgow, Alex F. | 50881-L, 51170-L |
| Little, Jack | 51391-R, 51625-L |
| Lockhart | 80667-L |
| Lodge, Henry | 51156-L |
| Logan | 50428-L |
| Lohr, Frederic N. | 80483-L |
| Lopez, Ray | 51094-R |
| Lopez, Vincent, adaptation | 50960-L |
| Losch, Abe | 50547-R, 50694-L |
| Losey, F. H. | 50078-R, 50113-L, 50118-R, 50598-R, 50614-L, 50671-L, 50677-L, 80531-L |
| Lover, Samuel | 80436-L |
| Lowry, R. | 52487-R |
| Lowry, Rev. Robert | 80355-R |
| Lucas, Clarence | 51969-L |
| Lucas, Nick | 51819-L |
| Lucena, Paco | 60069-R |
| Lyman, Abe | 51806-R, 51936-L |
| Macdonald | 50584-R |
| MacDonald, Ballard | 51418-R, 51661-R |
| MacDowell | 80600-R |
| MacGuigan | 80687-R |
| MacMeekin, J. A. | 80503-R |
| Macy, J. C. | 80483-R | Magine | 50865-R |
| Maguire, Hannibal | 51189-L |
| Mann, Sammy | 51335-L |
| Marenco, R. | 50922-L |
| Marr, Alex. | 51835-R |
| Marshall, Charles | 80759-L |
| Marshall, Henry I. | 51368-R |
| Mason, Lowell | 51879-R |
| Massenet, J. | 80515-R, 80515-L |
| Massey | 51430-L |
| Massey, Guy S. | 51459-R |
| Mattei, Tito | 50061-L |
| McAfee, Carlos B. | 51609-R |
| McCarron | 50518-R |
| McConnell | 50774-L |
| McGranahan, James | 51582-L |
| McHugh, Jimmy | 51365-R |
| Meacham, F. W. | 50145-R |
| Mendelssohn, F. | 80356-R, 80356-L, 80429-L, 80851-L |
| Metallo, G. | 50749-R |
| Meyer | 50537-R |
| Meyer, George W. | 50343-L, 50686-L, 51131-L |
| Meyer, Joseph | 51304-R, 51661-R, 51955-L |
| Meyerbeer | 50335-L |
| Michaelis, Theo. | 50162-L |
| Miles, G. Austin | 80520-L |
| Miller, Charles | 80118-L |
| Miller, Ned | 51791-L |
| Mills, Irving | 51335-R, 51365-R |
| Mills, Kerry | 50636-L, 51891-L |
| Molloy, J. L. | 80613-L |
| Monaco | 50370-R, 50832-L |
| Monaco, James V. | 50700-R, 51142-L |
| Monaco, Jimmie | 51455-L |
| Monk, Wm. H. | 80276-R, 80827-R |
| Moore | 80327-L |
| Moore, Tom | 51285-L |
| Morgan | 50518-R |
| Morgan, Louis | 50635-R |
| Morris | 50353-L |
| Morse, Theodore | 50153-L, 50460-R, 50490-L, 80411-L |
| Moszkowski | 80599-R |
| Motzan | 50819-L |
| Motzan, Otto | 51436-R |
| Mozart | 50162-R, 80292-L, 82197-R |
| Munro, Bill | 50651-L |
| Murphy, Owen | 51196-L |
| Murray | 50903-L |
| Myers, Richard | 51738-L, 52098-L |
| Myers, Sherman | 51915-R |
| Neidlinger, W. H. | 50448-L, 80184-R |
| Nelson | 50683-L |
| Nelson, Ed. G. | 51391-L, 51918-L |
| Nevin, Ethelbert | 80100-R, 82554-L, 83073-R, 83073-L |
| Nevin, Geo. B. | 80174-R |
| Newman, Charles | 52547-L |
| Novello, Ivor | 82149-R, 82149-L |
| Nunez | 50622-L |
| Oakey, Miss Emily S. | 52081-R |
| Oakland, Will | 51914-L |
| Offenbach, J. | 50078-L, 80428-R |
| O'Hara, Geoffrey | 50490-R, 82221-R |
| O'Hara, Geoffrey, arr. | 50917-R |
| Olcott | 50083-L, 80293-R, 80293-L |
| Olcott, Chauncey | 80436-R |
| Olman | 50854-L |
| Olman, Abe | 50699-R |
| Olsen, Harry B. | 50425-R |
| Olson, Elmer | 51388-L |
| Onivas, D. | 51142-R, 51192-R |
| Openshaw, John | 80667-R |
| Owen, Anita | 50606-R |
| Paaluhi | 51950-R, 51950-L |
| Paderewski | 82307-R |
| Padilla, José | 51738-R |
| Paley, Herman | 51914-L |
| Palmer, H. R. | 80581-L |
| Panucci, Tony | 51413-L |
| Parish, Mitchell | 51436-L, 51525-R, 51665-L, 80841-L |
| Payne | 80489-R |
| Payne, John Howard | 82033-R, 83064-L |
| Payne, T. H. | 50675-R |
| Pease | 50683-L, 50855-L |
| Pease, Harry | 51391-L, 51918-L |
| Penn, Arthur A. | 50999-R, 80506-R |
| Perry, J. | 50881-R |
| Pestalozza, A. | 50323-L |
| Peter, C. C. | 50176-R |
| Petrie | 50300-R |
| Petrie, Henry W. | 80145-L, 51140-L |
| Piantadosi, Albert | 50465-L |
| Pietro | 51617-R |
| Pinkard, Maceo | 51282-L |
| Pinto | 50998-R |
| Pitts, Dr. Wm. S. | 80416-L |
| Planquette, Robert | 50130-L, 50507-L |
| Plunkett, Vincent C. | 50628-R, 50664-L |
| Polla, W. C. | 80844-L |
| Pollack | 52365-L |
| Pollack, Lew | 50889-R, 52322-R, 52429-L |
| Pomerance, M. | 50586-L |
| Ponce, Phil | 51877-L |
| Popper, David | 80683-L |
| Porter, Steve | 50153-R |
| Posadas, Guillermo | 80784-L |
| Pryor, Arthur | 50426-R |
| Puccini | 80633-R, 80633-L |
| Rachmaninoff, Sergei | 80800-R, 82187-R, 82187-L, 82202-L |
| Raff, Joseph | 82047-L |
| Randall, Art | 51313-L |
| Rapée, Erno | 52322-R, 52429-L |
| Rath, Fred | 51245-R, 51264-R |
| Ray, Huston | 51034-L |
| Razaf, Andy | 52391-R |
| Reading, J. | 50304-R |
| Redner, L. H. | 50302-R |
| Reed, Alfred | 50001-L |
| Reed, Dave | 50001-L |
| Reynard, Jules | 80579-L |
| Rich, Fred | 51810-R |
| Richards | 51065-R |
| Richman, Harry | 51990-R, 52117-L |
| Ries, Franz | 80683-R |
| Rimsky-Korsakow, N. | 80860-L |
| Ring | 80503-L |
| Roberts | 50650-R |
| Roberts, Dr. J. V. | 80588-R |
| Roberts, Kathleen A. | 50052-R |
| Roberts, Lee S. | 50503-L, 80425-L |
| Robin, Leo | 51738-L, 52098-L |
| Robinson | 50763-R, 51430-L |
| Robinson, Carson | 51459-L |
| Robinson, J. Russel | 51074-R, 51806-R, 51936-L |
| Robinson, Russel | 51625-L |
| Robledo, Julian | 51087-R |
| Romberg, Sigmund | 50435-L, 50438-R, 51230-L, 51936-R |
| Romero, M. | 60069-L |
| Romm, Harry A. | 51819-R |
| Root, Geo. F. | 80118-R |
| Rosas, Juventino | 80579-R |
| Rose | 52365-R |
| Rose, Billy | 51155-R, 51282-L, 51555-L, 51661-R, 51835-L, 51914-R, 52117-R |
| Rosebrook, Leon | 80578-L, 80589-L |
| Rosenfeld, Monroe H. | 50863-R, 80578-L, 80589-L |
| Rosey, Joe | 50504-R |
| Rossini, G. | 80128-R, 80128-L |
| Roth, Chas. H. | 51002-L |
| Ruby | 50682-R |
| Rubio | 50130-R |
| Ruby, H. | 50646-R |
| Ruby, Harry | 50827-L, 51227-L |
| Ruby, Herman | 50827-L |
| Rule, Bert | 50537-L |
| Rule, James S. | 50987-L |
| Rupp, Carl | 52054-R |
| Russell, James I. | 80255-L, 80578-R |
| Saint-Saëns, C. | 80417-R, 82172-R |
| Salvetti, S. | 50360-R |
| Sanders | 50863-L |
| Sanders, A. | 50586-R |
| Sankey, Ira D. | 52487-L, 80416-R |
| Santelmann, Wm. H. | 50895-L |
| Santly, Henry | 51937-L |
| Scanlan, Walter | 52276-L |
| Scarlatti | 82170-L |
| Scharf, Henry | 50637-L, 50759-L |
| Schenck | 51156-L, 51282-R, 51351-L |
| Schertzinger, Victor L. | 51219-R |
| Schmid | 50001-R |
| Schneckenburger, Max | 50187-R, 50187-L |
| Schonberg, Chris | 51640-R |
| Schonberger, John | 50711-R |
| Schraubstader, Carl | 51212-R |
| Schroeder | 80687-R | Schubert, Adrian | 50523-L |
| Schubert, Franz | 50130-R, 50998-L, 51311-L, 52338-L, 80417-L, 82307-L |
| Schumann | 82534-R |
| Schuster, Joe | 51980-R |
| Schwartz, Jean | 50611-R, 50638-L, 50819-R, 51068-R, 51230-L |
| Schwarzwald, Milton E. | 50425-L |
| Scott, Lady John | 80098-R, 83059-R |
| Seitz | 80667-L |
| Seitz, Ernest | 80799-R |
| Seitz, Roland F. | 51483-R |
| Serradell, Narciso | 80784-R, 82033-L |
| Sgallari, G. | 50360-L |
| Sheppard, Madelyn | 50722-R |
| Sherman, Al | 51924-L |
| Shilkret, Nathaniel | 52429-R |
| Shrigley, Guy | 50771-L |
| Sibelius, Jean | 80756-R |
| Silésu, Lao | 50859-L |
| Silver, Abner | 50683-R, 51388-R, 51389-L, 52117-L, 52199-R |
| Silver, Frank | 51177-R |
| Silvers | 50875-R |
| Simson | 50842-L |
| Sinding, Christian | 51218-R |
| Skelly, J. P. | 80098-L |
| Slater, Walter L. | 50688-L |
| Smith, Chester W. | 50353-R |
| Smith, John S. | 50169-L, 80172-L |
| Smith, Samuel Francis | 50169-R, 80172-R |
| Smith, Sydney | 50118-L |
| Smith, Walter | 50857-L |
| Snyder, Ted | 51036-R, 51173-L, 51208-R, 51304-L, 51835-L |
| Sodero | 50706-R |
| Solman, Alfred | 80841-L |
| Solman, Joe | 50800-L |
| Solomon | 82310-R |
| Sousa, John Philip | 50084-L, 50086-L, 50250-R, 50486-L, 50507-R, 50636-R, 50652-L, 50671-R, 50677-R, 50688-R, 50853-R, 50904-R, 50904-L, 51483-L |
| Spain, Mrs. Irene | 51609-L |
| Spalding | 82307-L |
| Spencer, Herbert | 50854-R |
| Speaks, Oley | 80860-R |
| Spencer, Otis | 51393-R |
| Spier, Larry | 52006-R, 52303-R |
| Spink, George | 52276-R |
| Spitalny, H. Leopold | 51525-L |
| Spross, Charles Gilbert | 80174-L |
| Squires, Harry D. | 51819-R |
| Stagliano, Leonardo | 50217-R |
| Stamper | 50832-R |
| Stanley, Jack | 51288-R, 51634-L |
| Stauffer, Aubrey | 51084-L |
| Stept, Sam H. | 51819-L, 51987-R |
| Sterling | 50774-L |
| Stern, Jack | 51290-R |
| Stevens | 50855-R |
| Stevens, Vernon | 51388-L |
| Stevenson, Sir John | 51030-R, 82163-L |
| Stewart, Cal | C50260-R, 50260-L, 50263-R, 50263-L, 50264-R, 50264-L, 50689-R, 50689-L, 50942-L |
| Stone, Billy | 51877-L |
| Stoneman, Ernest V. | 51823-R, 51823-L |
| Stothart, Herbert | 50717-R |
| Straight | 50865-R |
| Strauss, Johann | 80076-L, 80702-R |
| Strong, Ted | 51965-L |
| Sullivan, Arthur | 50460-R, 80251-R, 80251-L, 82554-R |
| Sweeley, Chas. S. | 51617-L |
| Sweney, Jno. R. | 80588-L |
| Tausig | 82170-L |
| Taylor, A. H. | 82139-L |
| Teike, C. | 50895-R |
| Thome, Francis | 80428-L |
| Thompson, Will L. | 80321-L |
| Tolman, Carl Jean | 51068-L |
| Tomer | 80343-R |
| Tomer, W. G. | 52030-L |
| Tosti, F. Paolo | 80599-L |
| Traveller | 50771-R |
| Trent, Jo' | 51990-R |
| Tschaikowsky | 51213-R, 80594-R, 80594-L, 80602-R, 80602-L |
| Tucker, Al. | 51393-R |
| Turk, Roy | 51074-R, 51389-L |
| V. Suppé, Franz | 80096-R |
| Van | 51156-L, 51282-R, 51351-L |
| Van Alstyne, Egbert | 50460-L |
| van Biene, Auguste | 50097-R |
| Van Brunt, Walter | 80227-L |
| Van Loan, Paul | 51810-R |
| Vandersloot, Carl D. | 50491-R, 50693-L |
| Vandersloot, F. W. | 50508-L, 51033-R |
| Vangucci | 50712-L |
| Veo, Harold | 51918-L |
| Verdi, G. | 50335-R, 80396-R, 80396-L, 80589-R, 82201-R, 82201-L, 82516-R, 82516-L |
| von Flotow | 83076-L |
| Von Suppé, F. | 80201-R, 80201-L, 80342-R, 80342-L |
| Von Tilzer, Albert | 50808-R |
| Von Tilzer, Harry | 50808-L, 50903-R, 51021-R, 51155-L, 51294-R, 51392-R, 80626-R |
| Wadsworth | 50628-L |
| Waggner, George | 51806-R, 51936-L |
| Wagner, Franz | 57008-L |
| Wagner, Richard | 52193-L, 73006-R, 73006-L |
| Waldteufel | 80076-R |
| Walt, Edw. J. | 82221-L |
| Wallace, Chester | 51915-R |
| Wallace, Wm. Vincent | 80176-R, 80176-L, 80247-L |
| Walsh, Art | 51413-L |
| Warren | 52365-R |
| Warren, Harry | 51694-R, 51704-R, 51704-L |
| Wayne | 51965-R |
| Wayne, Mabel | 52231-L, 52376-L |
| Weeden, W. S. | 52081-L, 80343-L |
| Weldon, A. F. | 50614-R |
| Wendling, Pete | 50898-R, 50928-R, 50993-L |
| Wenrich, Percy | 50433-L, 50516-R, 50516-L, 50606-L, 51295-L |
| Westendorf, Thomas P. | 80160-R |
| Whitcup, Leonard | 51360-R |
| White | 50855-L |
| White, Alice | 51665-R |
| White, C. A. | 50265-R |
| White, Harry | 51221-R, 51221-L |
| White, Willy | 51227-R |
| Whiting | 50774-R |
| Whiting, George | 52128-R |
| Whiting, Richard A. | 50465-R, 50709-R, 51131-R, 51555-R, 51877-R |
| Wiedoeft, Rudy | 50645-R |
| Wieniawski, H. | 82349-R |
| Wilhelm, M. Carl | 50187-R, 50187-L |
| Wilhelmj | 82212-L |
| Williams | 80184-L |
| Williams, Spencer | 51173-R |
| Wilson, Al | 51235-R |
| Winegar, Frank | 51413-R |
| Woods, Harry | 51955-R |
| Worgan | 51957-L |
| Work, Henry Clay | 50979-L |
| Worrell, Lola Carrier | 80247-R |
| Wright | 51614-R |
| Yellen, Jack | 51428-L, 51674-R |
| Yellman, Duke | 51980-R |
| Youmans, Vincent | 51418-L |
| Young | 51640-L, 51661-L, 51965-R, 52373-R |
| Young, Joe | 51694-L, 51955-R, 52188-R, 80844-R |
| Yradier | 51701-L, 80063-L |
| Yvain, Maurice | 51305-R |
| Zamecnik, J. S. | 50388-L, 50554-R |
| Zimbalist, Efrem | 50709-L |
| Zoellner | 80600-R |
| Thank You for Your Co-operation | |||
| Mr. Edison spent several million dollars in research
work to accomplish Music's Re-Creation. The Edison Record, or Re-Creation, must be played on the New
Edison in order to produce the perfect musical result which caused the New York Tribune to say "Edison
Snares the Soul of Music." However, even when played on ordinary talking machines, Edison Re-Creations
give a much better musical result than talking-machine records and as a consequence, thousands of Edison
Re-Creations are being bought by owners of talking machines for the purpose of playing them on talking
machines. The warning on the container states truthfully and explicitly that Edison Re-Creations cannot
be played on any instrument except the New Edison without injury, and that we decline responsibility for
any damage that may occur to a record if this warning is ignored. One of the several reasons why talking
machine "sound boxes" will injure an Edison Re-Creation is because of the greater pressure at the point of
contact, in some instances 100 per cent more than that of the Edison Diamond Reproducer. Despite the warning on the record container, Mr. Edison has been asked to replace thousands of records which were injured as a result of being played on talking machines. Frequently the most minute examination by an expert with a powerful microscope is necessary to determine the cause of the injury. In order to protect Mr. Edison and to prevent, as far as possible, the making of unjust claims upon him for the replacement of records which have been damaged by talking machines, it has become necessary to ask each Edison owner to fill out an information blank concerning any record which he desires to have replaced on the ground of alleged defect. This information blank, when filled out by you, will by put inside the record envelope by your dealer, and no Edison Re-Creation will be inspected by our Inspection Department unless accompanied by one of these blanks, properly filled out. We believe that every Edison owner will gladly co-operate with us in this way, to the end of checking the efforts of thoughtless people to impose on Mr. Edison's liberality. To the best of our knowledge and belief we are the only manufacturers of records who replace, without charge, records which on examination are found to have contained defects when they left the factory. There is still another phase of the subject to which we respectfully invite your attention. The Edison diamond-tipped reproducer is adjusted to apply precisely the right pressure to the Re-Creation. If it is tampered with in any way so that additional pressure is applied, there is always the possibility of injury to the Re-Creation, and we believe you will agree with us that Mr. Edison ought not to be asked to replace a Re-Creation that has been injured as a result of the reproducer having been tampered with. Furthermore, careless use of a record, for example, dropping the reproducer on the record and making a fracture which, with further playing, is likely to develop into an enlarged injury to the record, scarcely justifies the owner in asking replacement. We also wish to call attention to the fact that while Edison Re-Creations, when played on the New Edison with an Edison reproducer properly adjusted, will play without diminishment of their musical value many more times than an ordinary talking-machine record, we believe you will agree with us that after you have had reasonable use of a Re-Creation it is scarcely fair to ask its replacement. It is Mr. Edison's desire that every effort be made to insure the satisfaction of our patrons and he personally is tireless in his efforts to provide them with the best music, interpreted in the best way. In respect of the replacement of records, it is of course necessary for us to establish the rule that our decision after inspection shall be final. Should you have occasion to disagree with our decision, we shall be very glad to have you write us fully in order that there may be no misunderstanding. THOMAS A. EDISON, INC. |
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Last Updated on 12/23/2023
By Richard Densmore
Email: rdensmore53@gmail.com