RECORDING TRIP March 31– June 14, 1939John A. Lomax accompanied by Ruby Terrill Lomax (Mrs. John A.)

We left Port Aransas, where we had spent the winter months, on March 31. At Aransas Pass, on the mainland, we unboxed and loaded into our Plymouth the fine almost-new recording machine, microphone, stand and converter, leaving the two heavy batteries to be shipped directly to Houston by express. Then we headed for Austin wheere we knew a mechanic who could check the machine to be sure all parts were there and working.

On April 4 we arrived at Houston, which we made headquarters for the next two weeks. The engagement that set the date for this trip was a performance of a Sacred Drama, The Good Thief, about which Sister Joan of Arc of the Our Lady of the Lake College had written us. It was to be presented on Easter Sunday, April 9, at Guadalupe Church, Houston, by a group of Mexican Texans led by the Gozalo Lopez Family of Sugarland. With the help of Sister Mary Dolores an appointment to record the choral parts of this drama was arranged for the afternoon of April 9. Unfortunately after two of the choruses had been recorded something went wrong with the machine; there being no electrician at call on Sunday afternoon, the recording had to be postponed and a date was set for a meeting at the Sugarland home of the Lopez family.

John B. Jones of 1912 Kipling St., Houston, and of Hollywood, California was a student of John A. Lomax at the Texas Agricultural and Mechanical College. He became interested in folk songs and was very helpful in bringing in folk materials. This interest he has kept. At his home in Houston on April 10 Mr. Lomax recorded old tunes with words, some texts incomplete, of songs that Mr. Jones had learned from various sources. His mother, Mrs. Kate W. Jones, who had come to Texas from Mississippi in 1868, also knew and recorded several fragments, mostly children's songs.

See texts on following pages.

2589 RECORD- TEMPORARY DISC #1.

A 1. Christopher Columbo Sung by John B. Jones, Houston, Texas and Hollywood, Calif. April 10, 1939 in his Houston home, 1912 Kipling St. Comment: “Have known it all my life. Hundreds of verses. Much of it lewd. Will send words”.

A 2. THE BRITISH KING Sung by John B. Jones (see above) Comment: “Learned tune in army. Words supposed to be Kipling's. Have heard that this song cost him the laureateship. Lewd. Song said to be popular at the University of Va.”

A 3. HOME BOYS HOME Sung by John B. Jones (see A 1) Comment: “Learned this ong in the army before 1910.”

A 4. BESSIE MOORE–fragment Sung by John B. Jones (see above). “They'll take me to Texas Where I'll be tried For the murder of poor Bessie Moore. I'll sail the wild seas no more; For they'll take me to Texas Where, etc.”

B 1. THE ARCHER'S SONG Sung by John B. Jones (see note A1) Comment: “English archers sang it in 14th century; sang it during discharge of seven arrows, the seventh of which was in the air before the first touched the ground.” “Oh, we'll all pull together round the grey goose feather, For the land where the grey goose grows.”

B 2. The U.S. MARINE MARCH Played by Mrs. Kate W. Jones on piano Comment: “Learned it from my mother, who learned it about 1830.” Date and place of recording as in A 1. Mrs. Jones is mother of John B. Jones; came with her family from Mississippi in 1868. She was Kate Giallard.

B 3. Hunting Horn Calls John B. Jones (see A 1) blows hunting calls for dogs on old heifer's horn, scraped down by a Negro. Horn covered with squirrel skin where horn scraped too thin. Sound will carry two or three miles. Two calls blown: (1) Calling dogs together for hunt; (2) Calling dogs off after prey treed, etc.

2590 RECORD-TEMPORARY NO. 2

A 1. Dilly, Dilly (See revised text next page) Sung by Mrs. Kate W. Jones, Houston, Texas, 1912 Kipling St. April 10, 1939 Comment: Mrs. Jones learned this song from her mother, who herself must have known it by 1830. Mrs. Jones came to Texas from Miss. in 1868. First line: “Oh, what have you got for dinner, Mrs. Bond.” Oh, what have you got for dinner, Mrs. Bond? I've beef in the larder and ducks in the pond. Call, “Dilly, Dilly, Dilly, Dilly, come and be killed, For you must ne stuffed and my customers filled.” Mrs. Bond went down to the pond in a rage, With plenty of onions and plenty of sage; Calling, “Dilly, Dilly, Dilly, Dilly, come and be killed, For you must be stuffed and my customers filled.”

A 2. THERE WAS A LADY LOVED A SWINE Sung by Mrs. Kate W. Jones (see above, A 1) Comment: Learned from he mother. Three 4 stanzas were was all Mrs. Jones could recall. There was a lady loved a swine. “Honey,” said she, “Pig, Hog, wilt thou be mine?” “Hunh!”, said he. “I'll build thee a silver sty, Honey,” said she; “And in it thou shalt lie.” “Hunh!” said he. “I'LL pin it with a silver pin, Honey,” said she, “That thou may'st go out and in.” “Hunh!” said he. “Wilt thou have me now, Honey?” said she. “Speak or my heart will break.” “Hunh!” said he.

A 3. MISS LUCY LONG (For revised text, see next page Sung by Mrs. Kate W. Jones (see above A 1) Comment: This song used as lullaby by Mrs. Jones's Mammy in Miss. Miss Lucy she is handsome, Miss Lucy she is tall. The way she danced Paducah, She beat them niggers all. Oh, rock that cradle, Lucy; Oh, rock that cradle long; Oh, rock that cradle, Lucy, and keep that baby warm. Her head is like a cabbage, Her ears like sauer-kraut; Her mouth is like a fire-place, With the ashes taken out. Oh, rock that cradle, Lucy; Oh, rock that cradle long; Oh, rock that cradle, Lucy, And keep that baby warm. 0009 Houston, Texas April 11, 1939 Mr mike Hogg

2590 Temporary No. 2

A. 1. Dilly, Dilly (revised version of Text) Mrs. Kate W. Jones Oh what have you got for dinner, Mrs. Bond? I've beef in the larder and ducks in the pond Call, dilly, dilly, dilly, dilly, come and be killed For you must be stuffed and my customers filled John Ostler, go fetch me a duckling or two, John Ostler, go fetch me a duckling or two- Call, dilly, dilly, dilly, dilly, come and be killed, For you must be stuffed and the customers filled I have been to the ducks that are swimming in the pond And they won't come and be killed, Mrs. Bond, I cried, Dilly, dilly, dilly, dilly, come and be killed, For you must be stuffed and the customers filled. Mrs. Bond she went down to the pond in a rage, With plenty of onions and plenty of sage; She cried, Dilly, dilly, dilly, dilly, come you little wag-tails, (wag, come and be killed, For you shall be stuffed and my customers filled.

Temporary No. 2

A 3. Miss Lucy (revised version of text) Mrs. Kate W. Jones Miss Lucy she is handsome, Miss Lucy she is tall, And the way she danced Paduka, she beat the niggers all. Chorus Rock that cradle, Lucy, rock that cradle long, Rock that cradle, Lucy, and keep that baby warm. Miss Lucy went a-fishing, she caught a little trout; Says she, You little rascal, does your mammy know you're out? Her head is like a cabbage, her ears like sauer kraut, Her mouth is like a fire-place, with the ashes taken out.

2590A4 Disc-Temporary No.2 cont'd

A 4. COACH AND SIX Sung by Mrs. Kate W. Jones (see note on A1) Comment: Used as lullaby by Mrs. Jones's Mammy in Mississippi, who came from Va. First line: Hush an' bye, don't you cry. Same song as “All the pretty little horses”, as sung by Lomax children and printed in American Ballads an Folk Songs, Vol. I Hush an' bye, don't you cry,/Don't you cry, little baby; You shall have, you shall have,/You shall have, little baby, A coach and six, coach and six,/Coach and six little horses; All for the pretty little baby.

A 5. Dance tune - Now salute your right Sung by John B. Jones, 1912 Kipling St., Houston, Texas; April 10, 1939 Comment; Mr Jones is son of Mrs. Kate W. Jones. He learned this tune from the Dayton community This tune as played by Jeff Carey, a dance fiddler of Cedar Bayou, Texas. Now deceased. Now salute your right, now salute your left; Swing that right hand lady round, and all promenade.

B 1. THERE WAS A COUNTRY BLADE(The man who had a dumb wife) Sung by John B. Jones (see note A 5) Comment: Sung around Dayton community, with a dance step. Dayt on community “barbarians”. Barber's Hill people near mouth of Cedar Bayou. Oh,-there was a country blade,/And he wooed a pretty maid, And he safely conducted her to home, home, home. She was neat in every art,/And she stole away his heart, But the pretty little creature, she was dumb, dumb, dumb. REFRAIN: Tra-la-la-la-la-la-la, la-la-la-la-, etc. To the doctor then he went, To make his heart content, For curing a dearie of her dumb, dumb, dumb. So he cut the chattering string and her tongue began to ring, And He'd given all he had if she was dumb, dumb, dumb. Refrain; Tra-la-la-la, etc To the doctor then he goes with his bosom full of woes, For curing his dearie of her dumb, dumb, dumb. Said the doctor he went to see, “I'm sorry you can't agree, For indeed you're both very young, young, young.” Refrain: Said the doctor he went to see, “I'm sorry you can't agree, For indeed you're both very young, young, young; If her body all around you will make the hickory sound, You'll never more be bothered with her tongue, tongue, tongue.

B. (2) All the pretty little horses- Sung by Mrs. Shirley Lomax Mansell of Lubbock, Texas May 7, 1939 in home of Oscar Callaway, Comanche Co. Comment: Mrs. Mansell learned this song from her mother, who learned it From her mother, a Virginian.

2591- 2592 2593 Temporary No. 3 (J.A.L.)

Songs on this record by John Lowry Goree, made in his home, 2908 Jackson St., Houston, Tex. on April 12, 1939 Mr Goree came from Marian, Alabama in 1903; educated at Judson College; his great-grandfather, –King, trustee of that college and plantation owner; gave his children the plantation. Mr. Goree's mother died when he was born; as a small child he had scrofula and was sent to the plantation to be nursed by an old mammy, Aunt Harriet; he lived in a log cabin with her for two years. From her he learned the lull abies which he sings on these records, and by which he was often sung to sleep. Furthermore he sang his own children to sleep by them. On this plantation, also, he became familiar with the other tunes here recorded.

2593

A 1. Who curled yo' hair? by J. L. Goree, Houston, Texas (see above) Comment: Sung by Negro women hoeing cotton on plantation in Black Belt near Marian, Alabama Who curled yo' hair an' combed yo' bangs? Little boy from L-u-zianner. An' he come from L-u-zianna, L-o-r-d, Lord. He curled my hair an' he combed my bangs, An' he come from L-u-zeanna.

A 2. Coach an' fifteen little ponies by J. L. Goree, Houston, Texas (see above) Comment: Lullaby learned from Aunt Harriett Go to sleepy, little baby, go to sleepy little baby, When you wake, you shall have a coach an' fifteen pretty little ponies. One is red, an' one is green, pne is pink an' one is tan, One is yallow an' one is blue, an' one is purty jes like you. Go to sleepy, little baby, go to sleepy, little, baby, Go to sleepy, little baby, and let dem ponies in.

(For other versions see: Am. Ballads and Folk Songs, Vol. I-Pretty Little Horses as sung by Bess Brown Lomax; also Temporary Record No. 2-A 4: Coach and Six Little Horses, sung by Mrs. Kate”. Jones.)

B 1. Jonah - (Spiritual) sung by J. L. Goree, Houston, Texas (see note on A, above) Comment: Spiritual, but also sometimes sung by Negroes as they brought up cotton sacks from the field.

2593 Temporary No. 3

B 2. Of all de beas'es in de worl'—sung by J. L. Goree, Houston, Texas (see note to A 1) Comment: “Reel” Of all de beas'es in de worl' I'd ruther be a Pant'er, (panther) I'd crawl up on some lonesome hill An8 cry fer Susianner.

B 3. Sugar Babe sung by J. L. Goree, Houston, Texas (see note on A1) Comment: “Blues”, learned when Mr. Goree was 7 or 8 years old. Stannin' on de corner wid a dollar in my han',–Sugar Babe, Stannin' on de corner wid a dollar in my han',–Lawd, lawd. Stannin' on de corner wid a dollar in my han', Waitin' fer de ‘oman didn’ had no man, Sugar Babe. Lord knows I didn' mean no harm, Sugar Babe, Lord knows I didn' mean no harm, Lord, Lord; Lord knows I didn' mean no harm, Police grabbed me by my arm, Lord. He took me down to de Calaboose, Sugar Babe, He took me down to de Calaboose, Lord, Lord; He took me down to de Calaboose, An' I axed Jedge Mo' fer to turn me loose, Lord. Jedge Mo' didn' pay me no mind, Sugar Babe, Jedge Mo' didn' pay me no min', Lord, Lord; Jedge Mo' didn' pay me no min', Gun me 30 days an' a ten dollar fine, Sugar Babe.

B 4. Hear dat Whistle When She Blow—(Train Song)—by J. L. Goree, Houston, Texas (see note on A 1.) Hear dat whistle when she blow, Lord, Lord, Hear dat whistle when she blow, Uh, she blow like she never blow befo' Blow like she never blow before: T-o-o—too-oo-e-ee Blow like she never blow before. Blow like she ain' goin' blow no mo', Uh, she blow like she ain' goin' blow no mo', Cause she's blowin' like my Honey's on Boa'd. Uh, de train got my Honey an' gone.

TEMPORARY NO. 2

Report of a side-walk conversation, mostly one-sided, between two Negro men in Alabama– Bre'r Zeke's Power in Prayer Reported by J. L. Goree at his home in Houston, Texas April 12, 1939. Mr. Goree is a U.S. “T”-man

2591

Yon comes Bre'r Zeke; he ain' much on preachin', but he's 'bout de out-prayin'est Parson dat ever went to town on Satday. He can ast for mo' things in less time than air' nigger dat ever flung buck-shot mud off'n his boots. When he steps out to de aidge o' de pulpit, an' stretches his arms out'n frontta him, an' rolls his eyes up to de skies, an' starts prayin', hit look jes' like he ‘spactin’ de Good Lord to start drappin' de blessin's in his arms, den an' dere. He kin beg so hard, an' plead so pleadin' fied dat de corngregation, stidda prayin', be's peepin' thou deys fingers to see what sortta blessin's de Good Lord gwine drap down..

Lak de time back in 1932, Bre'r Zeke walked out to de aidge o' de pulpit ‘n’ rolled his eyes up to de sky, ‘n’ stretched his arms straight out in frontta him, ‘n’ start prayin': “Oh-o-o-, Marster, Thou hath knowed me fum de day o' my birth, even unto dis day ‘n’ time. Thou knowest me, Oh-o, Marster, Thou knowest me in de days o' prosperity when de manna wuz in plentiful ‘bundence hereabouts; an’ tseaeth me in these Thou seeth me in dem days, Oh-o, Marster; Thou seeth me in dem days goin' roun' sowin' de seeds o' righteousness 'mongsst de thornser ‘nickerty, an’ Thou hast sayeth, ‘Let hit be so; an’ Oh-o, Marster, hit wuz so.

“Now, Oh-o Marster, Thou seeth me in dese days o' ‘versity; Oh-o Marster, Thou seeth me gwine upn’ down de cotton fiel', tryin', Oh-o Marster, tryin' by de sweater my brow ter feed six chilluns wid some fo' cent cotton. Thou seeth me on a Sunday mornin', gwine down de Big Road, wid my elbows out, an' de botooms o' my foots reachin' de groun' thu de soles o' my shoes; Thou hath heared de Boss-man say dat de cotton us done riz won' 'pensate him fer de meat us done et. Now, Oh-o Marster, even as Thou knoweth all things dat be's possible, Thou knoweth also dat feedin' six chilluns wid some fo' cent cotton ain't one uv ‘em,an’ I beseeks Dee, Oh-o Marster, I beseeks Dee to look down deep in de bottom o' my heart, an' make search roundabout. An' ef you finds air' hoe, air' Gee-whizz, air' Go-devil, air' mule or air' cotton-planter, pluck 'em, Oh-o Marster, pluck 'em, an' cast ‘em into de sea o’ everlastin' fergetfulness; fer as long as cotton don' wuf but fo' cents, I ain' gwine need 'em no mor. Amen.”

Folks, you know dat prayer hit got answered, yessir, hit sho' be's answered, fer 'twarnt long ‘fo’ de Good Lord tuck an' drapped dis here Mister Roosevelt right down in Bre'r Zeke's arms, an' said: “Gi' dat nigger ten cents fer his cotton!”

LULLABIES

My last speck of consciousness has been thrilled time and again by three lullabies, a child's paradise. I could see the back yard full of a all kinds of animals, prancing around, made to seem a reality by the only ones who have mastered the art of picturing childish dreams in song, the Bla Black Mammy of the South.

–J. L. Goree, Houston, Texas, who sent in material

2592 J. L. Goree Walked all the way from Chicago.

2592 Temporary No. 4(J.A.L.)

Songs on this record by John Lowry Goree, made in his home, 2908 Jackson St., Houston, Texas on April 12, 1939 Mr. Goree came from Marian, Alabama: educated at Judson College of which his great-grandfather had been a trustee (named King); he was a plantation-owner. Mr. Goree's mother died at his birth; as a small child he had scrofula and was sent to the plantation to be nursed by old mamy Aunt Harriet, with whom he lived inna log cabin for two years. From the Negroes on the plantation he learned the songs recorded on this record.

A 1. [Walked all the Way from Missouri]–sung by J. L. Goree, Houston, Texas (see note above) April, 1939 Walked all de way from Missouri (Hee!) And I come through Arkansas; Got so weak an' hungry (eeh!) Couldn' move my underjaw. Fed me on cornbread and 'lasses (eeh!) An' meatskins I could not chaw. Biscuits ao raggedy an' taggedy (eeh!) Till I sprung my underjaw. Mamma, bring me a pillow (eeh!) An' lay right under my haid; Whiskey surround my body (eeh!) An' sport life gonna kill-a me daid.

A 2. [When you hear that peafowl holler] (Wood-chopping Song or Chant) Sung by J. L. Goree, Houston, Texas (see note above) When you hear dat, Humh!, peafowl holler, Humh! Sign o' rain, Baby Humh!, sign o' rain, Humh! When you hear my, Humh!, bulldog barkin', Humh!, Somebody roun', Baby, Humh!, somebody noun', Humh! When you hear my, Humh!, forty-fo' lumber, Humh!, 'Nother nigger daid, Baby, Humh!, 'nother nigger daid, Humh!

A 3. [I got a purty gal down de road]—sung by J. L. Goree, Houston, Tex. (see note on A 1) Comment; First line. I went home to my supper las' night. I went home to my supper last night, I looked in de winder, didn' see no light. I went to de do' an' de do' was shut, I looked in de yard an' i looked in de lot. Under de house an' all aroun', But my gal Hannah jes' coudn' be foun'. I axed de neighbors to see if dey knowed, Dey said de las' time dey seed her she was down de road. I got a purty gal down de road, down de road, Purty gal down de road. She sees to my washin' an' paid my boa'd, I got a purty gal down de road, Purty gal down de road, down de road

2594 2595 J. A. L. '39 TEMPORARY NO'S. 6 & 7

Sixteen so-called American Mother Goose jingles sung by Ray Wood of Raywood, Tex.

Several of these are printed in his Mother Goose of the Ozarks, illustrated by Ed Hargis. See also his American Mother Goose, 1940.

Mr. Wood is a T-man, ho has seen service in many parts of the U.S. possessions. He was brought up in Arkansas and retains an affection for the homely rhymes and jingles of the backwoods. He had previously, 1937, record other jingles for Mr. Lomax, in New Orleans. Mr. Wood is a T-Man who has seen service in many parts of U.S. possessions

Titles are designated as follows:

Wooden-legged soldier

Leather britches: Leather britches, full of stitches Mammy sewed the buttons on And daddy kicked me out of bed Because I had my britches on

Johhny get your gun Johnny, get your gun Get your sword and pistol Nigger on the barn And he wont get off.

Marching round the Levee

Sugar Babe

Roll on the ground

Chew my terbaccer Chew my terbaccer Spit my juice Want to go to heaven But it aint no use

Sallie lost her petticoat Left foot, right foot Any foot at all Sallie lost her petticoat A-goin' to the ball

Johnny get your gun

Bully of the town

I'm a husker

I stuck my finger in a crawdad's hole I stuck my finger in a crawdad's hole Crawded says “dad gum your soul “Take it out! Take it out! Take it out! Take it out!”

I'll eat when I'm hungry I'll eat when I'm hungry I'll drink when I'm dry If a tree dont fall on me I'll live till I die

Uncle John is sick in bed

Hush, my baby, don't you cry

Make me, shake me

I wish I was a little rock

Little birdie in the tree

Pop caught a crawdad

Speak to me, darling

There is a boarding house

When I die

JAL '39 Recording Trip Houston, and Sugarland, Texas

April 9 and 23, 1939

THE GONZALO LOPEZ FAMILY

We first met Gonzalo Lopez and his family on Easter Sunday, April 9, 1939, at Providence Home, 2410 Anne St., Houston, Texas, where we had set up our recording machine to catch the singing parts of THE GOOD THIEF. (See Introduction by Sister M. Dolores). The family had inte rupted their rehearsing for the evening performance of the drama to record for us. The Lopezes were introduced to us by Sister Mary Dolores. She herself we had met by correspondence through Sister Joan of Arc of Our Lady of the Lake College, San Antonio Texas. Sister Joan of Arc had previously assisted Mr. Lomax (John A.) in his search for folk songs around San Antonio. Early in the spring she had written that an interesting religious drama, THE GOOD THIEF, would be presented in Spanish by the Lopez family on Easter Sunday at the Guadalupe Church; Sister Mary Dolores of Providence Home would assist us. Mr. Lomax arranged to meet the singers of the choral parts of the drama at Providence Home at three o'clock on Easter Sunday. Sister Dolores furnished him with an introductory sketch, a full text of the choral parts in Spanish and an English translation of them.

The presenting of this play, MORIR EN LA CRUZ CON CRISTO, oDIMAS EL BUEN LADRON, is traditional with the Lopez family beginning with their elders in Mexico. It occurred to some one of the family, Lorenza Lopez, some fifty years ago that the drama would be more effective if the lyrical parts were sung. As Sister M. Dolores has set down in her introduction, Lorenza Lopez approached an old school teacher in Coahuila, Lorenzo Flores, then a recluse, who, after pray- 0022 ing over the matter for several days, set the verses to tunes which he taught the Lopez family. These tunes have been handed down from generation to generation of the Lopez family without written music. The discs which John A. Lomax has deposited in the Archive of American Folk Song in the Library of Congress are their first permanent form.

On Easter Sunday, in Providence Home, after two of the seven songs had been recorded, the machine broke down. As no mechanic could be found on Easter Sunday further recording had to be postponed. The Lopez family is a busy, thr ifty farming family who live at Sugarland a few miles west of Sugarland. Two weeks later, on April 23, we set up the recording machine on batteries in the living-room of the Gonzalo Lopez farm home. There Mr. Lomax recorded not only the seven songs of the drama, THE GOOD THIEF, but also the following secular folk songs of the Mexican border: Moldita la ilusion La vida de los arrieros Yo ya me voy—(which Mr. Lopez had used as his courting song)

Mr. and Mrs. Lopez have twelve children, eleven of whom arranged themselves about the room where the machine was set, the singers and the microphone being in the kitchen. Mr. Lopez' brother, Cleofe, from Sugarland assisted, Mrs. Lopez and the daughters singing the women's parts. The daughter who was not present is a Sister in a convent, a teacher. One daughter is employed in nearby Sugarland; the other children who are large enough or who are not in school assist with the farmwork.

When we drove from Houston, our headquarters, out to the Lopez farm to make the appointment for the recording, we found Mr. Lopez busy in the field, while Mrs. Lopez, having just finished a large family laundry, was preparing to go to the field. She apologized further for her late start, explaining that she had to do something extra for one of the small children who was sick. Much of this conversation was carried on in pantomime, as Mrs. Lopez knows little English and the Lomax pair knew less Spanish. Mr. Lopez and the children of school age, of course, speak English. The members of the family are all devout members of the Catholic Church, highly respected in the community for their thrift and dependability.

J.A.L. '39 TEMPORARY NO. LOPEZ

A 1. Maldita la ilusionGonzalo Lopez and Cleofe Lopez, in the home of Gonzalo Lopez, near Sugarland, Texas, April 23, 1939

A 2. La vida d los arrieros..Donkey song..sung by Mr. and Mrs. Gonzalo Lopez

A 3. Yo ya me voy…I'm going your way…Mexican courting song..Gonzalo Lopez and Cleofe Lopez Mr. G. Lopez courted his wife with this song.

The Lopez family sang these songs after they had finished the songs of The Good Thief. The records were made in the Lopez living roomof their modest Mexican farm home near Sugarland, Texas. There are twelve living children, eleven of whom were present either as singers or as spectators. Cleofe is brother to Gonzalo, father of t e family.

B.1. Ride on, King Jesus…Spiritual…by Negro quartette of convicts in “The Walls” at Huntsville, Texas, May 13, 1939 Wm. Bowen, Eugene Blocker, Terrell Corlay, Alvin Brown

The Good Thief- JAL '39 Recording Trip Houston and Sugarland, Texas

April 9 and 23, 1939

The Lopez Family—Choral parts of a religious drama in Spanish, THE GOOD THIEF, or On the Cross with Christ

Introduction by Sister Mary Dolores, Providence Home, Convent of Our Lady of Guadalupe, 2410 Anne St., Houston Texas

In my effort to gather some information concerning the music used in the drama, “To Die on the Cross with Christ”, or “The Good Thief”, I was told that the music was arranged about fifty years ago by an old school teacher of General Zepeda, Coahuila, Mexico. Lorenzo Flores is the name of this teacher. He lived a retired life without mixing with the world. When this drama was studied by the seniors of the Lopez family, not having any music for the songs used, they went to this Lorenzo Flores and he, reading the words, meditated for a while in his secluded abode and presemtly brought the melody to the director of the drama. He was asked, then, to teach it to the group of actors, for there were not written notes, and the Lopez family learned iy. From that time on it has been handed down to the actual date through memory and tradition by the Lopez family, since the music has never been printed.

When this drama was presented in Guadalupe Church, 2405 Navigation Ave., Houston, Texas, on Easter Sunday evening, April 9, 1939, the following singers rendered the seven songs which occur at intervals throughout the spoken text of the drama: Cleofe Lopez, Jose Lopez, Gonzalo Lopez, Rafaela Lopez, Paula Lopez, and Eulalia Martinez. The singers live at Sugarland, Texas, about twenty-five miles from Houston.

Title of drama: Morir en la Cruz con Cristo, o Dimas el Buen Ladron (Juan C. Aguilav (sp/?)) Imprenta Cosmopolita-Mexico

TEXT OF SONGS IN THE SACRED DRAMA: THE GOOD THIEF or TO DIE ON THE CROSS WITH CHRIST (Morir en la cruz con Cristo,o Dimas el Buen Ladron) Juan C. Aguilav (or Aguliar) (Imprents Cosmopolita-Mexico)

CORO DE BANDOLEROS La vida del bandido es vida deliciosa alegre y builiciosa de todos es temido. Su oficio es el robar vivir en la montanas y con astucia y mana mucho oro atesorar mucho oro atesorar.

LELIO Si asi quereis vivir preciso es ser va liento, matar a mucha gento que al fin hay que morir. Jurar siempre obediencia al jefe de vosotros que el siempre por nosotros expone su existencia.

CORO Pues viva el capitan y Lelio su seguando 11: y viva todo el mundo gritemos con afan. :11 gritemos con afan.

ESCENA QUINTA

Sara, Rebeca, Susana y coro de pastoras (Salen cantando)

Canto La noche ya se aleja y nos alumbra el dia, y en nuestros campos deja la paz y la alegria. El Dios de las alturas, nos de su bendicion, y a todas sus criaturas bendign esta ocasion.

ESCANA UNDECIMA

CORO Al compas de las copas brindemos y bebamos con gusto y placer. Que mas dicha podrase tener que la que ahora nosotros tenemos? Viva, viva! Dimas! Viva, viva gestas! Viva Libia hermosa! Todos juntos, vivan!

ACTO SEGUNDO

ESCENA SEGUNDA

MUSICA RINON Plantaron celos y amores Un rosal con mil desvelos: El amor hizo las flores Y las espinas los celos. Pero dosda que embas cocas LLegaron a ser vecinas Ninguno coge las rosas sin punzarse en las espinas.

CORO Tu tienes tus flores tu tienes tus galas, tienes el alhago de la paz del alma. Esta vida infortunada que ama el hombre con empeno, es un ay: dentro de un eueno, es un algo de la nada. Es aire que en a carrera teje un velo de crespones: es un nido de ilusiones, dentro de una calavora.

Cantro Dentro Gloria a Dios en las alturas que desciende desde el cielo para darle a sus criaturas eterna paz en el suelo.

ESCENA TERCERA

CANTRO DENTRO Hoy los cielos se han rasgado Y llueve el rocio fecundo, Que admirando a todo el mundo Salva al hombre del pecado

CORO GENERAL Pastores dichosos marchad a Belem, a adorar al Verbe y a Maria tambien.

CORO DE HOMBRES En carne humanado ya bajo del cielo a dejar al hombre libre del pecado.

CORO DE MUJERES Una madre virgen con un carpintero es toda la corte de este rey del cielo.

CORO GENERAL Pastores dichosos Marchad a Belem a adorra al Verbo y a Maria tambien.

ESCENA QUINTA

Los pastores, pastoras, el angel y core. Salen cantando y con ofrecimientos.

CORO Guidas de la luz vamos a Belem, a ver a la Virgen y al Nino tambien. Vamos pastorcillos con gusto crecido, a adorar humildes al recien nacido.

CANTO Dichosos Pastores de Dios preferidos dad vuestros amores al rey de nacidos.

CORO Dichosos pastores, etc.

ESCENA OCTAVA

CANTA Se alibian las penas con comunicarlas Oid mis desdichas, cristalinas aguas…Ecos Yo soy la que ausente de su amada patria, por amor de un joven me veo desterrada…Ecos El, por consiguiente desterrada se halla, y entre bandoleros para mas desgracia…Ecos Capitan le jura la caterva brava y le hacen caudilloo viendo su arrogancia…Ecos Ay: amado Dimas que me sobresalta esparar el golpe de la nuda Parca Ecos Volvedme a mi Dimas, flores, fuentes, aguas, por que sin el, Libia ningun consuelo halla..Ecos

ESCENA NOVENA

CANTO DENTRO Vela por tuamante, vela, no te apartes de su lado; porque aunque el es buen soldado un venganza le espera.

CANTO DENTRO Vela por tu amante, vela

CanTO DENTRO No te apartes de su lado

CANTO DENTRO Por que aunque el es buen soldado

CANTO DENTRO Una venfanza le espera.

EPILOGO 33 ANOS DESPUES ESCENA QUINTA CANTO DENTRO

EPILOGO

33 ANOS DESPUES

ESCENA QUINTA

CANTO DENTRO Preludios y luego el siguiente: Excucha, Dim s, detente que ya el momento ha llegado de morir como valiente en una cruz enclavado

CANTO DENTRO Preludios y luegoel siguiente: Dimas, tu afrenta es dichosa, pues el cielo determina tu (yu?) muerte en una cruz afrentosa por disposicion divina.

CUADRO SEGUNDO

ESCENA PRIMERA

MUSICA DENTRO Llego el venturoso dia Dimas, el tiempo es llegado; de (Se?) cumplio la profesia de todo lo que has sonado.

JAL '39

2604 2605 2606

Ramsey State Farm, Camp 4, Otey, Texas

April 23, 1939

After we had recorded the choral parts of the religious drama, The Good Thief, at the home of the Lopez family on a arm near Sugarland, Texas, we drove to the Central State Farm near Sugarland. The Captain had a good dinner served us and assisted Mr. Lomax in trying to locate singers. In previous years Central Farm had “entertained” such singers as Clear Rock and Iron Head, who had made recordings. But this trip was fruitless. The old crowd had scattered, the new boys sang less fewer of the old songs and in performance imitated radio artists. We did not set up the machine. We found about the same situation at the Darrington Farm some thirty miles away,- few singers and these not interested in old songs or the old manner of singing.

Our next stop was at Camp Four of the Ramsey State Farm, where most of the habituals and incorrigibles stay.. With the help of the Captain and some of his guards we located some singers, who were admitted one by one or by small groups into a small office where the recording machine was set up. InOne of these groups included Columbus Christopher, Alexander Hamilton and George Washington,–who sang for us under guard, behind three sets of locks. Just outside this office we could look down on the dormitory room, where Negro convicts were playing cards, reading, talking, singing blues, listening to an exhorter, sleeping. One boy was standing on a barrel as punishment for some minor violation of rules. We saw the boys go in to supper, in a line, both hands on the shoulders of the man in front of him.

Among the boys whom we found there was Iron Head (James Baker) now back “in the line”, old and broken, assigned to the garden squad. He had been paroled from Central Farm by Governor Allred, but after a few months he was sent back for burglary,- “po‘ch-climbin’”. At first he was 0049 shy and stayed in the background, as if ashamed for Mr. Lomax, who had petitioned for his parole, to find him in worse case, no longer even a trusty. But finally he came forward, either drawn by love of music or by “pride of profession”,- for he had made many beautiful recordings for the Lomaxes and after his parole was granted he had traveled with Mr. John Lomax through the South on a recording trip. Impatiently Iron Head broke into a group's singing of some popular music-hall ditty, “No he don't want that kind o' stuff. This is kindly what he's after”, and he started off on an old-time spiritual. Later he recorded it: “This heart o' mine, God's goin' save this heart o' mine, “with this remarkable stanza: Mary had one virgin son, She rocked Him in the cradle of number one. Another of his spirituals, “Elder, will you march down to Jordan?” includes this couplet: Religion is somethin' like a bloomin' rose: None can tell that doesn't know. Iron Head claims his nickname from this story: One day when he was cutting timber, a big tree caught him and one of its largest limbs struck him down across the head The limb broke in two, but Iron Head shook it off and went on back to work.

Two boys claimed the nickname of the famous “Stavin' Chain”; they compromised by accepting the amended names, “Big Stavin' Chain” and “Little Stavin' Chain”. Another boy was called claimed “Jaybird”, from his physical appearance. It was customary to set down nicknames of singers along with their names, which caused some embarrassment at Ramsey. In routine manner, “What is your name?” asked Mrs. Lomax of one of the singers. He gave it readily. “Your nickname?” No reply, just a shuffling of feet. “Haven't you a nickname?” Again a shuffling of feet, and then hesitatingly: “Dey calls me Monkey.” A swift glance at the boy's features stopped the usual “How did you get that nickname?” Mrs. Lomax changed to an embarrassed and especially cordial “Thank you.” Supper with the white guards closed our day at Ramsey.

JAL 39

TEMPORARY NO. 14 2604

B 1. Jesus walk 'round your bedside…(Spiritual)…Alexander Hamilton (Negro) Ramsey State Farm, Camp 4, Otey, Texas April 23, 1939 Don't you want Jesus to walk around your, walk around your sick bedside? I do want Jesus o walk around me, walk around me till I die. Life is like a mountain railroad with an angel near my side Jes' keep your hand upon the throttle and your eyes upon the rail. Well don't you let old Satan lead you, he will lead let you off astray; An' when he catch you for your meanness, he will go and leave you lay. Don't you want Jesus to walk, Jesus to walk, Jesus to walk around you, Walk around your sick bedside? I do want Jesus to walk around me, walk around me till I die My mother's dead and gone to heaven, an' she left me here alone; I have no freind or no relation, None to teach me right from wrong.

B 2. This heart O' mineby Iron Head (James Baker-Negro)…Ramsey State Farm April 23, 1939 Oh, this heart o' mine, oh, this heart o' mine, this heart etc. God's goin' save this heart o' mine. When I was a sinner just like you, (God's goin' save this heart o' mine) I prayed in the valley an' I come through (God's gon' sav this heart o' mine) Oh, this heart o' mine, etc. Mary had one virgin son (God's goin' save this heart o' mine) Well, she rocked him the cradle of number one. - God's goin' save this heart o' mine) Oh, this heart o' mine…oh, this heart o' mine, God's goin' save this heart o' mine.

B 3. Elder, will you march down, Elder will you march down, /Ramsey State Farm, Apr. 23, 1939 Elder, will you march down to Jordon? Hallelu: Give me the horn that you told me to blow; Blow them sinners from Hell's dark door. Religion is something like a bloomin' rose; None can tell that doesn't know. Well, thank God Am ighty done fixed it so, That the rich an' the pore both must go. Religion is something that money can't buy, Thank God Amighty done

JAL '39

TEMPORARY NO. 18 2606

A 1. Smoky Mountain Bluesby Wallace Chains and Sylvester Jones (Negroes) “Big Stavin' Chain” and “Little Stavin' Chain” Ramsey State Farm, Otey, Texas-April 23, 1939 In the guard's office, behind three sets of locks. These Smoky Mountains way our in de West I say these Smoky Mountains, they are way out in de West, I was standin' here wonderin' who my good girl loves best. UI say dedo Smoky Mountins is a dangerous place to go (repeat) But I'm goin' up on de mountin an' knock on my baby's do' Oh, I've got a woman, an' she lives way up on dat hill (repeat), She may drive me 'way, but I don't 'blieve she will I'm goin' up on dat mountin an' knock upon my baby's do'; (repeat) An' if she drive me 'way, I know she don't want me no mo'. I'm goin' upon dut mountin, an' I may not come back down; (repeat) You may tell my friends I'm in my last go-round. Baby, you may never see my smilin' face no mo', (repeat) But if you see my baby, tell her I hate to go. But my baby got a diamon', shine like de risin' sun; (repeat) She says you come back from Tulsie, says 'may be I buy you one'. I'm goin' to Newport to Aunt Ca'line dis; (repeat) She's a fortune-teller an' aint never telled a lie.

A 2. Ella Speed by Wallace S. Chains and Ramsey State Farm April 23, 1939 (Text sent in later by Wallace Chains) Come all you girls an' take heed. Do you remember the pore girl Ella Speed? Some day you might be out only havin' fun; some man will do the deed that Marton done. I was in Savannahand will tell you what it was about; Martin killed Ella 'cause she wanted to be a rousterbout. I was standin' in the sloon an' seen it when it first begun; He shot Ella with a forty-one smokin' gun. Then right down State Street the dirty coward he did run; In his right han' he held this smokin' forty-one. He hollered, “You better hurry, Miss Ester, if you wants see yo' girl; She is lyin' on the bar-room floor, strugglin' in her blood.” Now if Miss Ester had raised Ella like her farther said, She'd be livin', but now the pore girl is dead. Pore Ella's people they live 'way out West; They didn't come to Savannah till they heard of Ella's death. The train come runnin' under the Union shed; They started the bells to tonin' when they heard poro Ella was dead. Now Martin is in the Jail-house, drinkin' outa a silver cup, An' Ella's in the grave-yard, pore girl, an' she will never wake up. Some of the boys give nickles and some give dimes, I never give one red cent' cause she wasn't no friend o' mine.

JAL '39 Recording Trip

2606 A2

Text of Ella Speed Recorded by Wallace Chains (“Big Stavin' Chain”) at Ramsey State Farm April 23, 1939 Note: Text may not correspond exactly to text of record, as it was written out and sent in later. Come, all you girls, and take heed Do you remember the pore girle Ella Speed Some day you might be out only having funn Some man will do the deed Marton done. I was in Savannah and will tell you what it was about Marton killed Ella cause she wanted to be a rousterbout I was standing in the sloon and seen it when it first begun He shot Ella with a 41 smoking gun. Then right down State Street the dirty coward he did run In his right hand he held this smoking 41 He hollered You better hurry Miss Ester if you want to see your girl She is lying on the barroom floor, struggling in her blood Now if Miss Ester had rased Ella like her farther said She'd be living, but now the poor girl is dead Poor Ella's people they live way out west They didn't come to Savanna till they heard of Ella's death The traisn come running under the union shed They started the bells to toneing when they heard poor Ella was dead Now Marton is in the jailhouse drinking out of a silver cup Ella's in the graveyard, poor girl she will never wake up Some of the boys give nickles and some give dimes I never give one red cent because she wasant no friend of mine The End.

Copied Song. Ella Speed. W.S. Chains of Ramsey Farm. Text sent by Come all you girls & take heed. do you remember the poor girle Ella Speed. Some say you might be out only having funn. Some man will do the deed that Marton don. I was in Savanna I will tell you What it was about Marton killed Ella cause She wanted to be a rousterbout. I was standing in the sloon & seen it when it first begun. he shot Ella with a 41 Smoking Gun. then right down State Street the Dirty coward he did run. in his right hand He held this smoking 41. he holled you better Hurry Miss Ester if you want to see your girl. She is lying on the bar room floor struggling in Her blood. Now if Miss. Ester had rased Ella like her farthar said. Shed be living but now the poor girl is dead. Poor Ellas people they live way out west. They dident come to Savanna till they heard of Ella's death. The trains come running under the union shed. they started the bells to toneing when they heard poor Ella was dead. Now Marton is in the jail house drinking of of a Silver cup. Ellas is in the grave yard poor girl she Will never wake up. Some of the boys give nickles. & some give dimes. I never give one red cent because wasnt no friend of mine.—the End.—

A Song to. Mr. & Mrs. John A. Lomax

JAL '39

TEMPORARY NO. 18 2606

B 1. Worry Blues (I wake up worried)Group of Negroes on Ramsey State Farm near Otey, Texas, April 23, 1939 W. S. Harrison, Leader (Jay Bird) (Text very imperfect) Well, I wake, I wake up worried; Gonna tell you what I'm worried 'bout. Cap'n, what's de matter Cap'n you won'tBut you know that worried me. Cap'n, what time o' day? Gettin' late in de e'en, been runnin' all day. Cap'n, you won'tWhat de matter? I wonder what de matter ever crawlin'

B 2. Come on an' bow down..(Spiritual)–group of Negro convicts led by Iron Head (James Baker) Ramsey State Farm, Otey, Texas. April 23, 1939 Come on an' bow down, He's a callin' you, he's a-callin' you this very hour. Come on an' bow down; He's callin' you, he's callin' you Don't you want to be saved? Don't you want to be saved this very hour? Come on an' bow down. You better pray, You better pray, you better pray this very hour. Come on an' bow down, come on an' bow down, He's callin' you. My Saviour said, my Savior said, my Savior said this very hour. Come on an' bow down, come on an' bow down; he's callin' you, he's callin' you. (These same phrases continue and the record concludes:) He's callin' you, he's callin' you, yes, yes, Won't you shake my hand?

JAL '39

TEMPORARY NO. 19 2605

A 1. Sinner will be runnin' in dat great day…(spiritual)by group of Negro convicts 'Who shall be able to stand?) Ramsey State Farm, Otey, Texas-April 23, 1939 (Text incomplete) Sinner will be runnin' in dat great day (repeated); Who will be able to stand? My mother will be runnin' in dat great day, etc. My father, etc. My mother, etc. My sister, etc. De grave will be open in dat great day (repeated). Who shall be able to stand?

A 2. My pore mother keeps prayin' so me..(Blues)…Wallace Chains and Sylvester Jones (“The Two Stavin' Chains”) Negroes on Ramsey State Farm, April 23, 1939 My pore mother keeps a-prayin' for me (Whooo-ooh-ooh, Well, Well) (repeat Say bless my son wherever he may be Work all summer long, did'n' save no railroad fare (well, well) Now my money's gone, an' my friends don't even care. I work in de summer when de days was warm long; Now I ain'T got no money, an' all my friends is gone. Well I would go beggin', but I don't like playin' blind; An' that woman she's gone an' tooken all those clothes o' nine. Well, you see my condition, won't 1et me love my fun; An' my money's will gone an' my friends won't give me none. These words are interspersed with ejaculations and and groans, such as “Whoo-ooh–ooh and Well, well.

B 1. Till I die (Spiritual) by group of Negro convicts..Ramsey State Farm, Otey, Tex. April 23, 1939 Words not caught.

B 2. Gambler, where was you? (Spiritual) group of Negro convicts..Ramsey State Farm led by Wade Bolden..“Monkey” April 23, 1939 Gambler, where was you when they called your name, called your name, called your name? (repeat) Gambler where was you when they called your name? You waited one day too late, one day too late. Liar, where was you, etc. Drunkard, where was you, etc. Backslider, where was you, etc.

JAL '39 Recording Trip

(2604 2605 2606)

Ramsey State Farm, Otey, Texas

April 23, 1939

Copy of letter from Columbus Christopher, one of the singers of 2604-2606 Otey, Texas

April 27, 1939

Mr. John A. Low. Mack Dear Sur. At this time sur I hope I am not taking to much advanthae of my opportunity with you. But kind sur however I am sure you undstand and will consider my true reply. Mr. Mack I hope you wont think I am going to far with you. But I am sure that you will undstand. Sur if you will get me out I will work for you are any of your peoples tell I gets you paid altho I am married. But I did like much to be going around with you if you and Miss can do anything for me I am sure Gord will help me do the rest. Maintime I have a good frend here. he was sleep Sunday when you war here. But he and eye have ben sing a lots since Sunday. he now blues and love songs good. So we are practtice on Religious Songs. Mr Mack he nows River Songs to. I have ben sing with the boys and trying to have a greath number of songs for you and Miss. So please ance soon and I will let you no about what time to come. So this time I will ramain with the lord and help of others Columbus Christopher R 1. Otey, Texas

JAL '39 Recording Trip

Brownsville, Texas

April 25–29

Manuela Longoria Jose Suarez (“Blind Jose”) Children of Blalack School Mrs. Henry Krausse, Dolores Royes, Tito Crixell, Henry Delgado

Judge Hobart Davenport introduced us to Miss Manuela Longoria, teac her of a suburban grade school where the pupils are all of Mexican families. Miss Long oria herself is well-educated She is always helpful with the annual “Charro Festival” in training the school children for their parts. Miss Longoria's own songs we recorded in her home in Brownsville, where she lives with an older sister who does not yet speak English. Miss Longoria's songs are traditional, most of them from her mother and her father. The Blalack School children sang us the songs that they use at play in their own homes. It is interesting that when Mrs. Lomax asked them how to spell certain titles they shook their heads, saying that they could not spell Spanish words. Their written and spoken school work is all done in the English language.

Atanacio Hernandez, a Mexican farmer came to the school house to sing old songs which he is thought to know, but due to timidity, perhaps, before his own children or the microphone, he sang only Nicero Leon, a tragic narrative of the “head-hunting of a man who was afraid of nothing but God”, according to Miss Longoria's interpretation.

The recording at Blalack School was made in a large classroom, the children sitting around the machine on the floor, watching every move of singers and recorders.

2607 JAL '39 Recording Trip

Brownsville, Texas

April 25–29, 1939

Manuela Longoria

On the same disc with La Rancherita (o?) Miss Longoria recorded a Confederate Song, La Chinaca two stanzas. She says that there are perhaps six other stanzas which she cannot recall. The song was composed by a group of about fifty Confederate soldiers, among them her father, to greet give warning of the Federals who they heard were coming their way.

A3 is a narrative song about the Storm (La Culebra) 1800 in Leon, learned from her father; there are perhaps one or two more stanzas.

A4 is a Play Song, Run, Run

Another of her songs is (English title)-Little Drunk Man

Others: El Sentimento ..a love song, learned from her father. La Pajara Pinta, a game song, learned from her father Las Aguilas de San Miguel, a game song, played like London Bridge.

Fathers name: Crisostomo Longoria, died 1935

Temp. 21, 22, 23 JAL '39 Recording Trip

Brownsville, Texas

April 24–29, 1939

Blalack School and Manuela Longoria

Three records were filled at Blalack School, a school for children of Mexican parentage, three miles from Brownsville, Texas. Miss Manuela Longoria is principal. The children speak only English in school, but Miss Longoria invited the children to sing game songs, lullabies and other children's songs in Spanish. She herself added to her list of songs recorded at her home. The father of two of her pupils came from his farm work to sing a “bad man” ballad.

Songs recorded at the Blalack School are as follows: Los Patos (Ducks)–ring game played at night. Counting to ten El Floron–ring game played sitting Maria Blanca– by girls of the school (Maria in prison is freed by the prince) La Pajara Pinta La Aguilas Lullabies

Ramona Ramirez sang an Indian song, and Maria Robriquez a love s ong.

Atanacio Hernandez, a farmer of the community, sang the tragic history of Nicero Leon and assisted in singing a boy-and-girl sentimental song

The concluding song was in English, a patriotic song,Children of America

2607? J.A.L. '39 TEMPORARY NO.

The songs on this record were sung by Miss Manuela Longoria at her home in Brownsville Texas on April 24, 1939. Miss Longoria was educated in the public schools of Brownsville, the College of Arts and Industries at Kingsville, Texas, and the University of Texas. She is principal of Blalack School, public school for Mexican children, three miles from the city.. Most of her songs she learned from her father, a Confederate soldier who served along the border. Her grandfather joined the Union army

A 1. La Rancherito…by Manuela Longoria, Brownsville, Texas.-April 24, 1939 Comment: “I was youngest of nine children in the family and my father's favorite. When he would come home onhis big handsome horse from one of his five ranches, he would begin to sing this song way down the road as a signal to me to meet him. Then we would dance together to he snappy music. My mother thought it was silly.” Tomando copas de tinto y cerveza, paso la horas de mi vida aqui; Mejor quisiera aquel sabrozo apdllo, Como en el r ncho dando yo naci. Aqui toditos usan tacon alto Cosas que siempr me chocado a mi Mejor quisiera aquella hermosa bota Como en el rancho donde yo naci. A ui toditos usan sombrero chiquito De tan chiquito parece capi (e?) Major quisiera grande y con barboquejo Como en el rancho de yo naci. Aqui se pasean en las banquetas Dandose vueltas por aqui y alli Mejor quisiera handar lazando vacas Como en el rancho de yo naci. Aqui so baila con bonitas musicas Cosas que nunca me han gustado a mi Mejor quisiera violin y tanbora Como en el rancho donde yo naci. Aqui meriendan con ricas somitas En pan que siempre me a chocado a mi Mejor quisiera aquellas azaderas Como en el rancho donde yo naci.

J.A.L. '39 TEMPORARY NO.

The osngs on this record were sung by Miss Manuela Longoria at her home in Brownsville Texas on April 24, 1939. Miss Longoria was educated in the public schools of Brownsville, the College af Arts and Industries at Kingsville, Texas, and the University of Texas. She is principal of Blalack School, public school for Mexican children, three miles from the city.. Most of her songs she learned from her father, a Confederate soldier who served along the border. Her grandfather joined the Union army

A 1. La Rancherita…by Manuela Longoria, Brownsville, Texas.-April 24, 1939 Comments: “I was youngest of nine children in the family and my father's favorite. When he would come home onhis big handsome horse from one of his five ranches, he would begin to sing this song way down the road as a signal to me to meet him. Then we would dance together to he snappy music. My mother thought it was silly.” yes A rancher compares city life with country life—This song taught to Mexican children to sing in charro parade. Tomando copas de tinto y cerveza Paso la horas de mi vida aqui; Mejor quisiera aquel sabrozo apdllo, Como en el r ncho dando yo naci. Aqui toditos usan tacon alto Cosas que siempr me chocado a mi Mejor quisiera aquella hermosa bota Como en el rancho donde yo naci. A ui toditos usan sombrero chiquito De tan chiquito parece capi (e?) Mejor quisiera grande y con barboquejo Como en el rancho de yo naci. Aqui se pasean en las banquetas Dandose vueltas por aqui y alli Mejor quisiera handar lazando vacas Como en el rancho de yo naci. Aqui se baila con bonitas musicas Cosas que nunca me han gustado a mi Mejor quisiera violin y tanbora Como en el rancho donde yo naci. Aqui meriendan con ricas semitas En pan que siempre me a chocado a mi Mejor quisiera aquellas azaderas Como en el rancho donde yo naci.

A 2. La Chinaca…a Civil War song…by Man uela Longoria, Brownsville, Texas. Apr. 24, 1939 See general comment on A 1 sheet. L earned from her father who served along the border in the Confederate army. Crisos omo Longoria Por hay viene la chinaca Toda vestida de griz Preguntandole a los mochos Donde esta su Emperatriz. Si vien puebla se perdio No fue falta de valor Fue por falta de elementos Para la Confederacion. Miss Longoria says that she has never been able to find the six other stanzas of this long narrative. Fifty men contributed to the composition of this song, which they sang as a sort of signal th t the Northern forces were near. Her father's name was Crisostomo Longoria. He died about four years ago.

A 3 La Culebra.. (The 1800 Storm in Leon)..by Manuela Longoria Latter part spoiled..Recorded agin as B 1

A 4 Play-party song, learned from her grandmother. ..by Manuela Longoria Al corre y corre – a ring game Al corre y corre, Ven junto a mi Dame el abrazoQue te pedi. Ven, ven joven querida, ven, ven aqui a las flores, Ven, ven a mis amores, Ven, ven hacerme feliz Al corre y corre, Ven junto a mi Dame el vesitoQue te pedi. Ven, ven, etc.

B 1. La Culebra by Manuela Longoria, Brownsville, Texas. April 24, 1939 Comment: Story of great storm in Leon about 1800. Perhaps two or three stanzas missing. Learned from her father. Un dia por la manana …Una culebra cayo Ano de mil ochocientos …Dies y ocho de julio Se ha hundido El Leon …Ano de mil ocho cientos Dies y ocho de julio …Se ha hundido El Leon Otro dia por la manana…Toda la orilla del rio Toda la gente desnuda…Los ninos chiquitos Temblando de frioToda la gente desnuda Los ninos chiquitosTemblando de frio.

B2 (over)

B 2. El Sentimi nto Love song …by Manuela Longoria, Brownsville, Texas. Apr. 24, 1939 Learned from her father. Si tienes algun sentimiento, Ve me diciendo, yo sobre cual es Yo te quisiera ver contenta Como te miraba la primeva ves Si crees que yo ya no vuelvo Por que ya me voy Quedate con Dios- Mi vid no llores, No llores mi vida Que haces pedazos mi corazon. Has un recuerdo mi bien De tu amante si Por que no puedo olvidarte Jamas a ti Por que soy fiel y constante Mi vida no llores No llores por mi.

B 3. La Pajara Pinta Game song..by Manuela Longoria, Brownsville, Texas, April 3, 1939 Learned from her father. Estaba la pajara pintaPara en su verde limon Con sus alas vuia las ojas…Con su pico ,picaba la flor. Ay, Dios. Ay, Dios cuando vere mi amor.

B 4. Las Aguilas de San Miguel Game Song …by Manuela Longoria, Brownsville, Texas April 24, 1939 (Played like London Bridge) Hay! vienen las Aguilas de San Miguel Cargados de pan y miel A lo maduro Que se voltee Jose de burro Ay! Ay! Ay!

A 2. La Chinaca …a Civil War song…by Man uola Longoria, Brownsville, Texas. Apr. 24, 1939 See general comment on A 1 sheet. L earned from her father who served along the border in the Confederate army. Crisostomo Longoria Por hay viene la chinaca Toda vestida de gri Preguntandole a los mochos Donde esta su Emperatriz. Si vien puebla se perdio No fue falta de valor Fue por falta de elementos Para la Confederacion. Miss Longoria says that she has never been able to find the six other stanzas of this long narrative. Fifty men contributed to the composition of this song, which they sang as a sort of signal th t the Northern forces were near. Her father's name was Crisostomo Longoria. He died about four years ago.

A 3. La Culebra …(The 1800 Storm in Leon.)…by Manuela Longoria

B 2. El Sentini nto …Love song…by Manuela Longoria, Brownsville, Texas. Apr.24, 1939 Learned from her father. Si tienos algun sentimiento, Ve me diciendo,yo cobro curl es Yo te quisiera ver contenti Como te miraba la primova ves Si croes que yo ya no vuelvo Por que ya me voy Quedate con Dios- Mi vid no llores, No llores mi vida Que haces podazos mi corazon. Has un rocuerdo mi bien De tu amante si Por que no puedo olvidarte Jamas a ti Por que soy fiel y constante Mi vida no llores No llores por mi.

A1 Apr. 24, 1939 Learned from father, Cristomo Longoria soldier in cofederate army died about 1934.

La Rancherita Tomando copas de tintó y cerveza Paso la horas de mi vida aqui; Mejor quisiera aquel sabrozo apollo, Como en el rancho dando yo naci. Aqui toditos usan tacon alto Cosas que siempr me chocado a mi Mejor quisiera aquella hermosa bota Como en el rancho donde yo naci. Aqui toditos usan sombrero chiquito De tan chiquito parece capí Mejor quisiera grande y con barboquejo Como en el rancho donde yo naci. Aqui se pasean en las banquetas Dandose vueltas por aqui y alli Mejor quisiera handar lazando vacas Como en el rancho de yo naci. Aqui se baila con bonitas musicas Cosas que nunca me han gustado a mi Mejor quisiera violin y tanbora Como en el rancho donde yo naci.

Aqui meriendan con ricas semitas En pan que siempre me a chocado a mi Mejor quisiera aquellas azaderas Como en el rancho donde yo naci.

A2 La Chinaca. — “Civil War” Por hay viene la chinaca Toda vestida de griz Preguntandole a los mochos Donde esta su Emperatriz. Si bien puebla se perdio No fué falta de valor Fué por falta de elementos Para la Confederacion.

A3 & B1 Storm (bad incomplete)

La Culebra Un dia por la mañana Una culebra cayó Año de mil ochocientos Dies y ocho de julio Se ha hundido El Leon Año de mil ocho cientos Dies y ocho de julio Se ha hundido El Leon Otro dia por la mañana Toda la orilla del rió Toda la gente desnuda Los niños chiquitos Temblando de frio Toda la gente desnuda Los ninos chiquitos Temblando de frio.

B.A4. Al corre y corre Al corre y corre Ven junto a mi Dame el abrazo Que te pedi Ven, ven jóven querida aqui a las flores a mis amores hacerme feliz Al corre y corre Ven junto a mi Dame el vesito Que te pidi— Ven ven etc. Naranja dulce

Children in ring Child in center Sing — first one embraces center. 2nd kisses one in center Sung by all children

2613 lullaby B1 Sra. Santa Ana. Señora Santa Ana, Por que llora el niño, Por una manzana; Que se le a perdido. Vamos a la huerta Cortaremos dos Una para el niño Y otra para Dios. Arriba del cielo Hay una ventana Por donde se asoma Señora Santa Ana. Arriba del cielo Hay un abujerito Por donde se asoma El nino chiquito Ramoña R. Sofia H. Ramona Maria R.

B2 El Sentimiento, Si tienes algun sentimiénto, Ve me diciendo,yo sobré cual es Yo te quisiera ver contenta Como te miraba la primeva ves Si crees que yo ya no vuelvo Por que ya me voy Quedate con Dios- Mi vida no llores, No llores mi vida Que haces pedazos mi corazón. Has un recuerdo mi bien De tu amante si Por que no puedo olvidarte Jamas a ti Por que soy fiel y constante Mi vida no llores No llores por mi.

J.A.L. '39 TEMPORARY NO. 21,22,23

2613

These three records were made in Blalack School, a school for Mexican children, three miles from Brownsville, Texas. Miss Manuela Longoria is principal. The children speak only English in school, but Miss Longoria invited the children to sing game songs, lullabies and other children's songs in Spanish. She herself added songs to the list recorded an her home. The father of two of her chi pupils came from his farm work to sing a “bad man” ballad.

JAL '39 Recording Trip

Brownsville, Texas

April 25—<29,1939

Jose Suarez (“Blind Jose”)

Jose Suarez was introduced to John A. Lomax by J.K.Wells. J. K. Wells is the son of Jim Wells,who for many years was very influential politically and socially in “the Valley”. There is a Jim Wells County in Texas, and Jim Wells was for many years “boss” of the SSpanish-speaking people along the border. His son, J.K.Wells, is a successful lawyer and businessman in Brownsville, himself a friends to Mexicans in need. Blind Jose recorded his songs iin the Wells home.

Jose became blind at the age of ten months and makes his living singing and playing his guitar on the streets, at da ces and in drinking halls. He goes everywhere about the city with the aid of a cane. He has a wide repertoire of Mexican and Spanish songs and tunes; in fac t he says he does not know how many he can sing, since new ons pop into his head every day that he has not thought of for years. He keeps up with the popular songs, but he likes best the old local and occasional ballads,- about exciting events that have happened in the border country. Mr. Wells comments at this point:

“Whenever, in the old days, anything exciting happened, a poet made verses about it and distributed the composition as a broadside. Musicians made up the air or tune for the verses. Prisoners leaving on boats would make u make up verse accounts of their experiences,- accounts of their crimes, etc., and sell them on the streets or from the boat.”

See also comments on songs as listed, for special circumstances from which each song arose.

Mr. Wells could not be so rude as to ask Jose his age. Instead, he asked in Spanish: “Jose, when did you cut your eye-teeth?” To this Jose replied, “Forty-three years ago.”

JAL '39 Recording Trip –Brownsville, Texas–Jose Suarez–April 26, 1939

Below is an example of a ballad in broadside form, as described by J. K. Wells of Brownsville, Texas as being the usual form for dis-t ibution of Mexican border ballads. See note on Texts of border songs sung by Jose Suarez

LA VIDA.

Esta vida es un misterio, Una ilusión vaporosa, Una vereda escabrosa Que conduce al Cementerio.

¿Qué significa vivir En este mundo engañoso, Que de nada sirve el gozo Cuando es preciso morir? En la nada va a concluir Tomándolo bien de serio, Que aunque sea un gran imperio Viene a quedar en la nada… Hablando en verdad sagrada, Esta vida es un misterio.

Si acaso hay un “más allá,” No lo veremos, por cierto, Porque ya después de muerto De nada nos servirá. Es posible que lo habrá, Según mi creencia dudosa, Y si de algo allá se/goza, Ir allá a gozar conviene, Porque aquí, solo se tiene Una ilusión vaporosa.

Y si el destino es morir, ¿Qué vale el haber nacido? Desde luego está perdido Todo nuestro porvenir. Se ve que todo es sufrir, Que esta vida es muy penosa Aunque a la vista es preciosa Nos encanta el batallar Y por fin, va uno a encontrar Una vereda escabrosa.

Todo está asi decretado Por la mano del Creador: Hay que sufrir con rigor Lo que ya está sentenciado. Cada quien ve por su lado Y resiste al intemperio; Es duro, penoso y serio, Hay que verlo con despecho: Es un camino derecho Que conduce al Cementerio. Por Prudencio Hinojosa. Brownsville, :-:Texas Diciembre de 1929.

J.A.L. '39 TEMPORARY NO. Suarez#1

A1. Train Robberyung nand played by Jose Suarezin the home, of J.K.Wells, Brownsville, Texas, April 26, 1939 J.K.Wells is the son of Jim Wells who for many years was very influential politically and socially in “the Valley” of Texas.

Jose Suarez became blind at the age of ten months and makes his living playing and singing on the streets and drinking halls. He goes everywhere about the city with the aid of his cane.. As he listened to the play-back of his records he went through the motions of playing the song and rocked back and forth with the rhythm. He has no idea how many songs and ballads he can sing. Train Robbery …14 stanzas (a few threads of the disc are spoiled) Annoncement by J.K.Wells The story of a robbery between Brownsville and Point Isabel, Texas, of the Rio Grande RailRoad. Modqueda was the hero. This song also called The Nineteenth of January,as the hold-up occurred on Jan.19, 1892 1892.

B Bandit Trouble on the Rio Grande Border 1915 …sung and played by Jose Suarez, blind Mexican street singer, at the home of J.K.Wells, Brownsville,Texas April 26, 1939 Mr. Wells comments: The raid was incited by the Germans. Many Mexicans were killed. “In the old days, whenever anything exciting happened, a poet made verses about it and distributed the composition as a broadside. Musicians made up the ir own tunes for the verses. Prisoners leaving on boats would make up a verse account of their experiences, accounts of crimes, etc., and sell them on the strests or from the boat.”

J.A.L. '39 TEMPORARY NO. Suarez #2

A 1. Cotton Picking. (Song of vagr nt Mexicen cotton pickers) by Jose Suarez Spanish with guitar …Sung in the home of J.K.WellsBr ownsville, Tex. April 26, 1939 Mr. Wells comments: : “Prior to 1904, the date of the first railroad in this part of the country, there was a general exodus of Mexicans picking cotton from Brownsville to Mississippi and beyond. They moved north as cotton matured, then walked back. Due to the boll weevil cotton prices were low and therefore so were cotton-picking wages. After the railroad came in, the contract system was intoduced,-that is, contrac tors loaded their groups onto the trains,-and trooping by foot ceased.” This song of, five stanzas of which are here recorded, was pr obably made or started in Gonzales, so Jose thinks. It opens with the father's advice to his young son.. Later: “When money was good, I bought chickens, cows, horses, etc., but at forty cents a hundred, Iam very poor, and I walk the streets of Laredo like a deaf mule.” Jose Suarez is a blind street singer, who makes his way about Brownsville unaided except for his cane. He is a skillful guitar picker and has a wide repertoire of all kinds of Mexican and Spanish songs.

A 2. and A. 3. Announcements by J.K.Wells, son of the late Jim Wells,who was the famous political, financial and social baron of “The Valley” for many years.

B. Battle of Manamoras..(in Spanish)…by Jose Suarez, blind street singer. Sung at the home of J.K.Wells in Brownsville, Texas, April26,1939 Comment: 16 stanzas about Panc o Villa's troubles arund Matamoras,a Mexican village across the river from Brownsville, 118 men were wounded. “Ballad written by Vidal Cantu Gercia, who moved from B. to Houston.” See remarks about Suarez and Mr. Wells A 1. and record immadiately prior to this one.

J.A.L. '39 TEMPORARY NO. 2647 Suarez #3

A 1.(I was) Born Blind sung and played (guitar) by Jose Suarez in the home of J.K.Wells, Brownsville, Texas, April 26, 1939 For information about this blind street singer and Mr. Wells, see comments on the two records immediately preceding. Suares became blind “at the age of ten months,while still in the cradle”. Mr. Wells could not be so rude as to ask the Mexican his age;inresponse to his question, “When were your eye-teeth born?”, Jose replied, “Fort-three years ago”.

A 2. Born Blind–infull. Notice: A few bad threads before song begins.

A. 3. Brownsville Raid …concluding stanzas of song by Jose Suarez which is recorded as A2 A on the next succeeding disc,which see for comments.

B.

B. The Rangers sung and played by Jose Suarez in the home of J.K.Wells,Brownsville, Texas, April 26, 1939 For informations abotu Suarez and Mr. Wells see comments on two records immediately preceding. Suarez is a blind street singer. This ballad,according to Suarez, was composed by Benino Sandoval. A noted bandit, Carlo Guillen, had been lynched. At the request of the bandit's mother, Gov. Gov. Culberson sent rangers to investigate the lynching.

2647 J.A.L. '39 TEMPORARY NO. Suarez #4

A. 1. La Risa..(The Laugh)..sung and played by Jose Suarez, blind street singer, in the some of J.K.Wells ,Brownsville, Texas, April 26, 1939 For information about Suarez and Mr. Wells see the three records immediately preceding this one. This song tells narrates the adventures of THE LAUGH.

A 2. Brownsville Raid by Negro troops sugn and played by Jose Suarez, blind street singer, in the home of J. K. Wells, Brownsville, Texas, April 26, 1939 For information about Suarez and Mr. Wells see preceding records. This ballad tells the story of the raid of Brownsville by Negro troops stationed at Ft. Brown nearby. Incidents took place in 1906. N.B.: Concluding stanzas are recorded as A 3 on the immediately preceding record.

B 1. The Drunkard celebrates Holy Week …sung and played by Jose Suarez, blind street singer, at the home of J. K. Wells, Brownsville, Texas, Apr. 26, 1939 For information about Suarez and Mr. Wells, see preceding records. This ballad relates the experiences of a drunkard on each day of Holy Week For instance: on Monday he started to confession, met a friend, got drunk. Considered sacrilegious by devout churchmen.

B 2. Drinking Song–(Mescal)…sung and played by Jose Suarez, blind street singer, in the home of J.K.Wells, Brownsville, Texas, April 26, 1939. For information about Suarez and Mr. Wells, see prededing records. Suarez says that the words we e written by a rancher near San Benito, Texas. “I feel a flame inside me, and I know I need a drink of mescal”.

JAL '39 Recording Trip Brownsville, Texas pg. 2

April 25–29, 1939

Mrs. Henry Krausse

Mrs. Henry Krausse, introduced to Mr. Lomax by Judge Hobart Debenport, prominent Texas lawyer with a keen interest in the Texas State Historical Society. Mrs. Krausse is wife of the vice-consul of the United States in Matamoras. She belongs to the prominent Brownsville family Crixell, being daughter of Officer Crixell who was shot down in the 1912 feud between Texas Rangers and Brownsville officials. She sang into the microphone four lines of a ballad about this feud that was written by a Brownsville citizen.

Mrs. Krausse's maid, a Mexican girl, sang in Spanish El Remolino (the whirlwind), which she says she learned in Matamoras. She sang another, also Spanish, whose title she did not know. We set it down as The Disappointed Lover, since she says it was composed by a lover, sung to a girl who jilted him. The singer of these two songs is Dolores Royes (Reyes)

Tito Crixell, cousin of Mrs. Krausse, and Henry Delga do with guitar sang two popular Mexican serenade (morning) songs.

J.A.L. '39 TEMPORARY NO.

This record was made in the home of Henry Krausse, Brownsville, Texas April 28, 1939 Mr. Krauase is vice-consul for the U.S. in Matamoras, Mexico

A 1. Feud between Texas Rangers and Brownsville officials in 1912 Four lines sung by Mrs. Henry Krausse, who says it is a long ballad composed by a Brownsville citizen. Mrs. Krausse is the daughter of Officer Crixell ho was shot down in the feud on Wash ington St.

A 2 El Remolino ..(The whirlwind) …sung by Dolores Reyes, Mexican maid in the home of Mrs. Henry Krausse, Brownsville, Texas Learned in Matamoras,Mexico April 28, 1939 Text was given in her writing. Mrs. Krausse says many words misspelled.

A 3. The Disappointed Lover … sung by Dolores Reyes in home of Mrs. Henry Krausse, Brownsville, Texas, April 28, 1939 No Text supplied -Composed by lover to girl who jilted him.

B 1. Las Mananitas …(The Dawn)…sung by Tito Crixell, cousin of Mrs. Henry Krausse, in her home in Brownsville, Texas,April 28,1939 With guitars. Very old greeting song or morning serenade in Old Mexico “T is is the song of dawn that Old King David used to sing. And now we come to sing it to you.”…Guitar accompaniment.

B 2.A1 Pie de tu vental …A serenade by Henry Delgado, in the home of Mrs. Henry Krausse Brownsville, Texas, April 28, 1939

2619 2620 JAL '39 Recording Trip Falfurrias, Texas Lake N. Porter

April 29, 30, 1939

Mrs Edward Lasater of Falfurrias told us about the fiddler, Mr. Lake N. Porter, a champion in his earlier days. He was born in Mississippi, and is (in 1939) 85 years old. He is a charter member of the Texas Old Trail Drivers Association. He went up the trail three or four times, often sawing his fiddle as he rode along. For a long time he discontinued playing the fiddle and singing, but he has taken it up again recently, and now “he doesn't do anything else all day long”, so his wife reports. The couple celebrated their sixtieth wedding anniversary last December (1938). They live in a comfortable cottage with their own garden and chickens. Their daughter lives across the street and a son, who holds a responsible position with a power company in the East, flies down to see them occasionally. This son has recently written to thank Mr. Lomax, for giving his parents so much pleasure by recording the fiddle tunes and to enquire whether he might get copies of the records. Mr. and Mrs. Porter were very much pleased to be “invited out” to a public restaurant for dinner. Mr. Porter was for fifteen years sheriff in Goliad County, Texas and in the county where he now lives, during some exciting days of that country. He lived in McMullen County when he was a cowboy and trail-driver. Black Jack Grove is his favorite fiddle tune.

During their days of work around Falfurrias Mr. and Mrs. Lomax were guests at the ranch of Mrs. Ed Lasater, of which her son Tom Lasater is manager. Her son Edward, county attorney, was at that time living on the ranch. Mrs. Lasater and Mr. Lomax had been friends on the campus of the University of Texas when Mrs, Lasater (Mary Miller) was student.

2619 J.A.L. '39 TEMPORARY NO. Porter #1

A 1. Drunkard's Lament…Fiddle tune with verses ..played and sung by Lake N. Porter in his home in Falfurrias, Texas. April 29, 1939 Tune: Rye Whiskey Mr. Porter, 85 years old, born in Miss., is a charter member of the Texas Old Trail Drivers Association.. He went up the trail three or four times, often sawing his fiddle as he rode along. For a long time he discontinued playing the fiddle and singing but has taken it up again recently and now “he doesn't do anything else all day long”, so his wife reports The couple celebrated their sixtieth wedding anniversary last December. Mr. Porter was fifteen years sheriff, in Goliad Co., and in the county where he now lives. He lived in Mc Mullen Co. when he was a cowboy and trail-driver. Text not complete nevermore roam, I wish I was married and livin' at home. As a boy I was reared in a beautiful home, But the taste of red liquor caused me to roam; But now I'm an outcast and destined to roam Because of red liquor I've ruined my home. I've traveled the country from Texas to Maine; I've drunk old red liquor and sometimes champagne. And now I'm an outcast and destined to roam, But I'll eat when I'm hungry, I'll drink when I'm dry, If a tree don't fall on me, I'll live till I die. I'll play my old fiddle and rosin my bow, And I'll make myself welcome whenever I go. My parents they begged me from whiskey to abstain, But the taste of red liquor with me did remain. And now I'm an outcast and destined to roam, Because of red liquor I've ruined my home. Coe all ye young men, take warning from me, Be a modest user of whiskey. For overindulgence will cause you to roam, Too much of red liquor will ruin your home.

A 2. Announcement

B 1. Lady in the center and three hands round..Fiddle tune with dance calls Played and called by Lake N. Porter, Falfurrias, Texas, Apr. 29, 1939 See note above on A 1.

B 2. Black Jack Grovefiddled by Lake N. Porter, in his home at Falfurrias, Texas, Apr. 26, 1939 Mr. Porter's favorite fiddle une. For information about Mr. Porter, see note above on A 1.

2620 J.A.L. '39 TEMPORARY NO. Porter #2

A 1. Old Cacklin' Hen..fiddle tune..played by Lake N. Porter, in his home, Falfurrias, Texas April 29, 1939 For information about this 85 years old charter member of the Old Texas Trail Drivers Association, see note to A 1 of preceding record.

A 2. The Lost Girl …breakdown, fiddled by Lake N. Porter, in his home Falfurrias, Texas April 29, 1939 See note above.

B 1. Billy in the Low Ground–fiddle breakdown…played by Lake N. Porter, in his home, Falfurrias, Texas April 29, 1939 With hollers. See note on preceding record A 1.

B 2. Sally Goodun …fiddle tune..played by Lake N. Porter, in his home, Falfurrias, Texas April 29, 1939 85 years old. Charter member Trail Drivers Assn. Fiddled up the trail three or four times.

2614 2616 2621, 2622 JAL '39 Recording Trip Falfurrias, and-Kingsville, Texas April 28–30, 1939 Frank Goodwyn

Miss Frances Alexander, professor of English at the College of Arts and Industries at Kingsville, Texas, first told us about Frank Goodwyn. He was at that time a student of the college interested in the study of English literature, in music and how to write English compositions. We were told that Mr. Goodwyn was surprised to learn that music had a notation by which it could be written down. He lost no time in setting down on paper some of the tales that he had heard all his life; for he was brought up on the King Ranch, where his father was once a foreman and where Frank himself had learned the arts of the cowboy. there he had learned the many tales current among the Vaqueros and the English-speaking cowhands, and he had also picked up their traditional and local ballads and dance tunes. He learned to play the fiddle and the guitar with enough skill to give himself, his family and friends some pleasure and amusement. He is a distant cousin of J. Frank Dobie and through his friends of the College faculty and through Mr. Dobie Frank's written versions of Mexican Border tales came to the attention of the Texas Folk Lore Society, in whose publications Mr. Goodwyn's tales and song texts appear. In 1940 Mr. Goodwyn is instructor in English and graduate student at the C and I College.

At the time the Lomaxes met him, Mr. Goodwyn was married and was teaching in the La Gloria School, a rural school in a Mexican community, near Falfurrias, Texas. There we found him and arranged a meeting.

Many of his songs Mr. Goodwyn learned from his mother and from Blind Eddie, fiddler, who used to hang around Mr. Goodwyn's uncle's country store. Many tunes he learned from cowboys, but often he had to get full texts later from books, such as the Lomax:Cowboy Songs. One night he played for two hours in our tourist camp room, mostly American cowboy songs and “funny” songs that he had learned from his m mother. We found that he knew a great many “concert hall” and other popular songs that had been printed for sheet music sale. The next day, being Saturday, he took us to Sarita, Texas on the edge of the great Kennedy Ranch. We were searching especially for a certain Mexican feud ballad which a blind store-keeper in Sarita knew. Mr. Goodwyn had formerly taught school there and knew all the boys. Mr. Lopez, proprietor was not in; but other musicians were around, and so we set up the machine on a store-counter. Manuel Salinas consented to second Mr. Goodwyn with the guitar, and they played Chinese Breakdown.

This was the usual bare, dusty, poorly equipped general merchandise Mexican store. One glance around took in a few cotton dresses, bandanas, belts, dried oranges, boxes of salt, sheet-iron stove, a dozen Irish potatoes, a few cans of milk, tobacco, an old phonograph, bottles of patent medicine with faded labels, a pair of rlk horns, a dusty violin.

After a while Mr. Lopez, blind poet and musician, came in. He acknowledged that he knew the ballad, “Don Benefacio e Don Coy”, but he refused to sing it into the microphone on the grounds that it was unworthy literature, and he would not degrade himself by going on record with it. He was perfectly willing to declame or sing his own compositions.

He refused even to repeat or to write out the words of such a lowly ballad, but finnaly Mr. Goodwyn, taking him aside, persuaded Mr. Lopez to whisper the words to him, and in trying to recall the words in spots he hummed the tune two or three times. This was sufficient for Mr. Goodwyn's quick ear and retentive memory; from this humming he caught the tune, practiced the song with his guitar over night, and sang the ballad into the microphone the next day.

The ballad gives the story of a feud between two bad gunmen, one of whom lived in a camp a few miles below Falfurrias. In the fight in 1900 both men were killed.

Another interesting vaquerim ballad, The Purple Bull, Mr. Goodwyn learned from Manuel Hervandez of La Changa cow camp. It is the story, perhaps embroidered, of Manuel's own adventure with a real bull, composed by Nigel La Luna The words and melody are published in a volume of Southwestern Lore: Folk Lore on the King Ranch.

The Wet Back, another Mexican Ballad of the Border, was sung and played at Sarita by Omero Lopez and Manuel Salinas. The text is not complete, as the boys could not remember all of it. The wet-back is a Mexican who has come across the Rio Grande River into the United States without required credentials. This ballad tells of some of his trials. Allegedly he is called Wet-back because he leaves the wet Rio Grande behind him as he faces the dry streams of Texas.

Comment from Lomax note-book on Sarita trip: “75 miles travel, 2 hours talk, 1 folk song with a possible lead to another.”

Since the Spring of 1940 the Frank Goodwyns have added a young vaquero to their household, nicknamed “Poncho”.

J.A.L. '39 TEMPORARY NO. Goodwyn #1

A 1. The Purple Bull (in Spanish)… played and sung by Frank Goodwyn in tourist camp, Falfurrias, Texas, April 28, 1939 Frank Goodwyn: son of former foreman on the King Ranch, was himself a cowboy. Now teaching La Gloria School near Falfurrias, and is student (senior) of College of Arts and Industries, Kingsville, Texas. Learned many songs from mother and from Blind Eddie, fiddler, who used to hang around Mr. Goodwyn' uncle's country store. 1940: Instructor in A & I College, Kingsville, Texas. The Purple Bull Mr. Goodwyn learned from Manuel Hervandez of La Changa cow camp. It is the story, perhaps embroidered, of Manuel Pasos's adventure with a real bull. Composed by Nigel La Luna. Story and Text in Southwestern Lore: Folk Lore on the King Ranch Also music of tune (melody) A 1. includes some conversation by Mr. Goodwyn

B The Purple Bull -repeated..See above. concluding stanzas on next succeeding record A 1. Learned at Norias

2614 J.A.L. '39 TEMPORARY NO. Goodwyn #2

A 1. The Purple Bull ..(in Spanish) ..by Frank Goodwyn, Tourist Camp, Falfurrias, Texas April 28, 1939 Concluding stanzas–to B side of preceding record. For information about Frank Goodwyn, see note to A 1 of preceding record. For Text see Southwestern Lore: Folklore on the King Ranch

A 2. The Kicking Mule … sung and played (guitar) by Frank Goodwyn, Falfurrias, Texas April 28, 1939 Learned from Blind Eddie in Goliad Co. Text on separate sheet, enclosed with record

A 3. The Dying Cowboy … sung and played by Frank Goodwyn, Falfurrias, Texas, Apr. 28, 1939 Learned from cowboys at Norias on King Ranch. Text as in Lomex:Cowboy Songs

B 1. Jolly Irishman …played and sung by Frank Goodwyn, Falfurrias, Texas, Apr. 28, 1939 Learned from mother, who had it from Blind Eddie Text on separate sheet, enclosed with record

J.A.L. '39 TEMPORARY NO. GOODWYN#3

A 1. Don Bonefacio e Don Coy …Me ican fe ud ballad..sung and played by Frank Goodwyn, Tourist Camp, Falfurrias, April 30, 1939 For information about Mr. Goodwyn, see two preceding records and their notes. Mr. Goodwyn had been familiar with this ballad for many years but could not recall the tune and full text. On April 29 he guided Mr. Lomax to Sarita, Texas on the Kenedy Ranch. Theyset up the recoeding machine in a little grocery store whose proprietor, M. Lopex, was known to know the ballad. Sonn Mr. Lopex, blind “poet” and musician, came in, acknowledged that he knew the ballad, but refused to sing it into the microphone on the ground that it was unworthy literature, and he would not degrade himself to make go on record with it. He was perfectly willing to declame or sing his own compositions. He refused to repeat or write the words, but finally whispered the words to Mr. Goodwyn, hand in trying to recall the words in spots, hummed over the tune two or three times. From this humming, Mr. Goodwyn caught the tunes, practiced the song over night and sang the ballad into the microphone the next day. The ballad gives the story of a feud between two bad gunmen, one of whom lived in a camp a few miles below Falfurrias, Texas. In the fight both men were killed. 1900 Text Ano 1900 la pecha la que les doy SEE MY. GOODWYN'S MS. ENCLOSED. with record

A 2. La Grand Partida …sung and played by Frank Goodwyn, Falfurrias, Texas, April 30, 1939 For information about Mr. Goodwyn, see previous records and notes. Thissong tells about the experiences of a bunch of men taking cattle from the border to Kansas. Text in ms. enclosed with record

bB The Dying Cowboy …sung and played by Frank Goodwyn, Falfurrias, Texas April 30, 1939 Learned from King Ranch cowboys at Norias, Texas Text similar to Lomex:Cowboy Songs

2616 J.A.L. '39 TEMPORARY NO. Goodwyn #4

A 1. Zebra Dun..Cowboy Song …played and sung by Frank Goodwyn, at Tourist Camp Falfurrias, Texas, April 28, 1939 For information about Mr. Goodwyn, see notes on preceding records Learned from cowboys at Norias, on King Ranch, of which Mr. Goodwyn's father was one of the foremen. Text in Loamx: Cowboy Songs

B 1. That Gol Darned Wheel …played and sung by Frank Goodwyn, place and date as above. Learned from father and mother. Text in Lomax: Cowboy Songs

2622 J.A.L. '39 TEMPORARY NO. Goodwyn #5

A 1. Trail to Mexico …cowboy song …sung and played by Frank Goodwyn, Tourist Camp Falfurrias, Texas, April 30, 1939 For information about Mr. Goodwyn, soe preceding records. This song learned from cowboys at Norias on King Ranch Text similar to Lomax: Cowbo Songs

B 1. Old Dan Tucker..fiddle tune and verses..sung and played by Frank Goodwyn same place and date as A1. See note. Text incomplete Old Dan Tucker was a nice old man …Washed his face in the fryin' pan Combed his hair with a wagon wheel… Old Dan Tucker clumb a tree …Thought his master he would see, Limb did break and he did fall …Never saw his Lord at all. (Girls in a ring inside a ring of boys) All moves around singing and at “Fly, Tucker, fly”, boys seize partner opposite and dance) Old Dan Tucker he got drunk …Fell in the fire… Fly, Tucker, fly

B 2. Old Chisholm Trail …cowboy song…sung and played by Frank Goodwyn See notes on preceding records. Text-some stanzas different from usual versi on.

B 3. Rye Whiskey …fiddle tune with verses…Sung and played by Frank Goodwyn See above.

J.A.L. '39 TEMPORARY NO. Goodwyn #6

A 1. Chinese Breakdown …played by Frank Goodwyn, fiddle and Manuel Salinas, guitar Lopez's Cash Store, Sarita, Texas, Kenedy Ranch Kenedy Co. Recorded in bare, dusty, poorly equipped general merchandise Mexican Store. One glance around detected a few cotton dresses, bandanas, belts, dried oranges, boxes of salt, sheet iron stove, a dozen Irish potatoes, canned milk, tobacco, old phonograph, bottles of medicine with faded labels, elk horns, dusty violin.

A 2. The Wet-Back … Mexican border ballad–Sung and played by Omero Lopex and Manuel Salinas. Sarita, Texas, Kenedy Co. Lopez Store April 29, 1939 Ballad not complete. The Wet-Back is a Mexican who has come across the Rio Grande into the U.S. without required credentials. This ballad tells of some of his trials. Allegedly called Wet-Back because he leaves the wet Rio Grande behind him as he faces the dry streams of Texas.

B 1. Maria … Mexican love song…sung and played by Omero Lopex and Manuel Salinas same place and date as A 1&2.

Comment from Lomax note-book: 75 miles travel, 2 hours talk, 1 folk song-maybe. Trip to Sarita conducted by Frank Goodwyn, resulted in getting words and tune for feud song (see previous record, Don Bonefacio e Don Coy), which poet-musician-storekeeper M. Lopex refused to sing or speak into the microphone.

JAL '39 Recording Trip

Kingsville,Texas

Acevedo, Wilson, Moye, Salazar

May 1,2,1939

Miss Olga Acevedo and Mr. Ruby Wilson were introduced by Professor J.A. Rickard, Professor of History in the College of Arts and Industries,and founder of the TennesseeFolk Lore Society. The singers are students of the college and their recordings were made under the grandstand of the college stadium. Miss Acevedo learned most of her songs from her mother.

Mr. Wilson comes from the Piney woods of East Texas near his home in Douglas, Texas. He has sung and played these songs and games all his life.

For comments on individual songs see notes under each song.

The family of Mr.William Moye also was introduced by Professor Rickard. Mr. Moye invited us to set up our machine in his home, where his wife and children recorded some Mexican Border play party and other children's songs. Mr. Moye is a missionary to Mexicans,in cha rge of the Baptist Mexican Mission at Kingsville. He also teaches at night in the U.S. Citizenship Training Corps. Mrs.Moye was born in Torreon, Mexico, daughter of a well-known physician, Dr. S.N. Taffinder. Her mother was Carolina Gonzolasp-Farino, from whom Mrs. Moye learned most of her songs. The Moye children are Jimmie,Margaret and Willie.

Later comment: In the Fall of 1940 we found that Mr.Moye was recovering from “a stroke”, able to meet his night classes in Citizenship.

Senora Isabella Salazar was introduced by Mr.Octavio Perez, teacher in the Stephen F.Austin Grammar School,Kingsville. Mr. Perez himself is making a collection of Mexican play-party and children's songs, and Mrs. Salazar is his “find”.

Mrs.Salazar knows a wide variety of songs,most of the old ones learned from her mother, now nearly ninety years old. Mrs. Salazar has a boarding house for Mexican girls attending the A and I College. She does not speak English. Some of the game songs she learned at school.

May 1, 1939Kingsville, Texas These songs on this record were sung by Miss Olga Acevedo, a Junior in the Texas College of Arts and Industries Side A. Song 2. Lairon, Lairon, Lairito Learned it from her mother, she from her mother, etc.

Side A Song 1 May 1, 1939 Olga Acevedo, StudentKingsville, Texas Sang Two Babes in the Woods Learned song from My dears, do you know how a long time ago Were stolen away on a Two poor little babes whose names I don't know And left in the woods as I heard people say. And when it was night how sad was their plight The sun it went down and the moon gave no light. They sobbed and they criedsighed and they bitterly cried And the poor little things they lay down & died. And when they were dead, the robins so red Brought strawberry leaves & over them spread, Poor babes in the woods — And don' you remember the babes 2. Spanish lullaby.

J.A.L. '39

TEMPORARY NO. 36

Kingsville #1

#2623

A 1. Two Babes in the Woods —in English…by Olga Acevedo, Kingsville, Texas May 1, 1939, under stadium of A & I College Miss Acevedo is a junior student in College of Arts and Industries, Kingsville. She was introduced to Mr. Lomax by Prof. J.A. Rickard, Prof. of History, who is responsible for the founding of the Tenn.Folk Lore Society. Song learned from singer's moth rwho learened it from her mother, etc. My dears, do you know how a long time ago Two poor little babes whose names I don't know Were stolen away on a bright summer day And left in the woods, so I've heard people say. (repeat*) And when it was night, how sad was their plight, The sun it went down and the moon gave no light. They sobbed and they sighed and they bitterly cried, And the poor little things, they lay down and died. (repeat) And when they were dead, the robins so red Brought strawberry leaves and over them spread, And all the day long, they sang them this song: Poor babes in the woods, poor babes in the woods! And don' you remember the babes in the woods.?

A 2. Lairon, lairon, lairito …lullaby in Spanish..by Olga Acevedo,Kingsville, Texas See note above Sung to her by her mother

B 1. Naranja dulce limon partido …ring game song …by Olga Acevedo, Kingsville May 1, 1939 See note on A 1. Learned it at home and at school, but no longer played at school. Game much like Ring arounda Rosey

B 2. Senora Santa Anna …Mexican lullaby…by Olga Acevedo place and time as above Lullaby widely sung by Mexicans in South Texas

B 3. Hebritas,Hebritas de oro–Game song..by Olga Acevedo see above The last part of the song may be sung to different words provided the last words of the last two lines rhyme.

2626

J.A.L. '39

TEMPORARY NO.

Kingsville #2

A 1. Macalilililion …game song in Spanish..by Olga Acevedo,Kingsville, Texas,May 1, 1939 under stadium of A & I Colle Mi s Acevedo is a junior in the college, learned most of her songs from her mother. This song is sung in a game played like “Red Rover”.

A 2. Bandelero..sung and played on guitars by Valdemar Acuna,Leonaldo Hernandes from near Riviera,Texas. Live in the country. 16 yrs. old Introduced by W.A. Moye. Recorded under stadium of A & I College Kingsville,Texas, May 1,1939 Learned from a farmer boy.

B. These East Texas play-party tunes and verses were sung by Ruby Wilson,a tall, red-headed student,junior in the Colle of Arts and Industries. Learned in Piney Woods of East Texas near home,Douglas, Texas. Recorded… Under Stadium of College,Kingsville, Texas,May 1, 1939 Singer introduced by Prof. J.A.Rickard, History Dept. Text of words in ms. enclosed

2626

B 1. Ceily

B 2. Arous er

B 3. Sugar Lump

B 4. Old Dan Tucker

2625 2626

J.A.L. '39 TEMPORARY NO. Kingsville #3 2625,

The Play-party and game songs on this record were sung by Mr. Ruby Wilson who learned them in the Piney Woods of East Texas near his home,Douglas,Texas. He w as introduced by Prof. J.A.Rickard of the College of Arts and Industries, Kingsville, of which Mr. Wilson is a junior student. Songs recorded under stadium of college, Kingsville, Texas, May 1, 1939 Texts of songs in ms. enclosed.

A 1. The Miller

A 2. and A3-Four in the middle (Green coffee grows on white oak trees)

A 4. Turn to my Lou.Loola-la-loo (Lead 'em up and down)

B 1. Form a figure eight..(Chase the goose)

B 2. Gents go center ..(“Or ladies either one”)

B 3. Irish Trot..(All hands up in the Irish Trot)

J.A.L. '39

TEMPORARY NO.

KINGSVILLE #1

A 2. Lai on,Lairon,Lairito …sung by Olga Acevedo,s udent College of Arts and Industries, Kingsville,Texas,May 1, 1939 See note on A 1. Un dia una pastora Lairon,lairon,lairito Una dia una pastora Mato a su michito El micke la miraba Lairon,lai on,lairito El miche la miraba Con ajas muy bonitas Me voya confesar Lairon,lairon,lairito Me voy a confesar Con ol padre Francisco Yo le confieso padre Lairon,lairon,lairita Yo le confiezo padre Que yo mate al machito De penitencia sufro Lairon,llairon,lairito De penitencia sufro Que yo mate al michito

(a lullaby)

B 3. B 1. Naranja dulce,limon partido Miss Acevedo comments:“Although this ballad has the words of a serenader's song, it is used extensively as a children's play song. Groups of children sing and act it. Each one claps his hands while singing the first stanza,puts his arm around the person to his right while singing the second stanza,turns his back to his partner while singing the third,faces front for the fourth and fifth,and bows for the sixth. During this time the clapping of h nds may be kept up.” Recorderss note: This same play song was recorded from Miss Manuelo Longoria of B owneville,Texas, and by Mrs. Wm. A. Moye of Kingsville,and by Mr.and Mrs. G. Lopez of Sugarland Naranja dulce, limon partido; Dame un abrazo que yo to partido. Si fueran falaas mis juramentes En algun yitmpo te olvidere Toca lu marcha mi pecho llora Adios senora, yoya ya me voy An orange sweet and a lemon I bring thee One fond embrace now I beg you give me If all my wooing were not so true,love I would by now have forgotten you,love I play this tune from a heart that's sighing Farewell,my lady,I now am going– Olga Acevedo

B 2. Senora Santa Anna Senora Santa Anna Parque llora el nino Par una manzana Que se le ha perdido Duermose mi nino Duermose prontito Porque niene el niejo (?) Y le da un sustito

B 3. Hebritas,Habritas de Oro..game song Hebritas,hebritas de oro Que se me nienen quebrando Que dice el rey y la reina Que cuantos hijas tendreis Que tenga las que tuviere Que nada la imparta al rey Vuelva, vuelva caballero No sea tan descortes Que de la hijas que yo tengo Nacaja la mos mujer (spoken): Esta me gusta por linds y hermosa Parcce una rosa acabada de nacer (sung): No me la siente en el suelo Sientemela en un cojin/Que as hija le un gachupin

J.A.L. '39

TEMPORARY NO.

Kingsville #2

A 1. Macalilililion..Spanish game song..by Olga Acevedo, Kingsville,Texas,May 1,1939 Miss Acevedo is a junior in the state College of Arts and Industries of Texas She learned most of her songs from her mother. This song is sung in a game played like Red Rover. Buenas dias su senoria..Macalilililion Que queria su senoria “ Yo queria su-senerieuna se sus”hijas …Macalilililion A cual de ellas quiere Ud (?) ” Yo queria a Fanchito“ Pues quo oficio le pandremos ” Le pandremos la tortillera ” Pues haremos la fiesta todas Todas, todas en general Pues haremoa la fiesta todas Todas, todas en general

26251. Miller Boy There was an old miller who by the mill Every time the mill turned it turned to its will. Hand upon the hopper & the on the sack Everytime the mill turns Graf boys graf (Back) Turn right back. Four In the middle Green coffee grows on white oak trees The river flows with brandy ose Go choose the one to roam with you As sweet as striped candy ose 1Four in the middle and you cant get about Four in the middle and you Can't get about, Four in middle. Swing your partner around you 2.Six in the middle and time half out 3.Eight in the middle and swing, 4.Ten in the middle and two goes out.

26252. Turn-to-my-lou la 1.Lead em up and down lou la lou la “““““““““ “““““““““ Lou-la -Lula- my darling 2.Break and swing lou la lou la Lou la lula my darling 3.Cat's in the Butter mil lou la lou la 4.Chicken in the bread tray lou la lou la 5.Aint she painted lou la lou la 6.Aint he got a big foot lou la lou la 7.Bet they marry lou la lou la. Form figure 8. 1.Form figure 8 run a couple on the right. Run a couple on the right run a couple on the right - form a figure 8 run a couple on the right and chase the goose around. 2.Round and round, and round and round - round and round, and round and round. Chase the goose around.

3. Dan Tucker Old Dan Tucker was down in town swinging those ladies round and round First to the right and then to the left Then to the one that he loved best. Get out of the way for old Dan Tucker Come too late to get his supper Supper is over, and Breakfast cooking Left old Daniel standing and looking, Get out of the way for Old Dan Tucker Come too late to get his supper. Ceily 1.Ring up 4 Ceily I thought I heard them say. Ring up 4 Cely I though I heard them say 2.Right hand across Cely I though I heard them say Right hand across Cely I thought I heard them say 3.Left hand back Cely— 4.Break and swing Cely— 5.All night long Cely— 6.Never get tired Cely— 7.Never get drunk Cely— 8.Moon shine bright Cely— 9.Your time is out Cely.

4. Sugar Lump All around this ring we go, all around my sugar lump, Some body's rocking my sugar lump, somebody's rocking my sugar lump O turn cinamon turn. 2.That blue eyed girl is my sugar lump— That blue eyed girl is my sugar lump— O turn cinamon turn. 3.I wouldn't take a dollar for my sugar lump— 4.Its worth five cents to my sugar lump— 5.I wouldn't give a nickle for my sugar lump. Arouser 2&4 arouser, arouser, arouser, 2&4 arouser, to get some lagger beer. Never mind the old folks, the old folks, the old folk Never mind the old folks The young ones they don't mind. Rail Road steam boat, River and canal along came a Jilly and he stoll my gall. Oh she's gone; gone, gone, oh she's gone, gone, gone and I bid by my last farewell. 4&6 arouser— 6&8 arouser— 8&10 arouser—

26255. Irish Trot 1.All hands up in the Irish Trot “““““““ “““““““ A way down below. 2.Turn right back in the Irish Trot. “““““““ “““““““ A way down below. 3.Right & Left in the Irish Trot. “““““““ “““““““ A way down below. 4.Double LL swing in — 5.All run away in the Irish Trot. “““““““

J. A. L. '39 TEMPORARY NO. Bandera-Medina May 3–5

On arriving at Bandera Mr. Lomax conferred with J. Marvin Hunter, editor of Fro ntier Times and rproprietor and director of the Frontier Times Museum. At his suggestion the following were visited and interviewed: Elmo Newcomer, fiddler and dance caller C. W. Saathoff, fiddler J. O. Evans, guitarist Chas. Eckhart, horn-blower and hog-caller Mrs. Fletcher Layton, Medina, in charge of Am. Music Week for Bandera Co.

On the evening of May 3 Elmo Newcomer recorded fiddle tunes and words in his home on the San Antonio-Bandera road, near Pipe Creek. He has he reputation of being the best dance caller in the county; the next night, while his wife attended a Pipe Creek school trustees meeting he and the children came to the Lomax tourist cabin, where C. W. Saathoff, fiddler, and J. O. Evans, guitarist, played for his calls, using the tune WAGNER. For fuller account of Mr. Newcomer and family, see notes to his recordings. His Rye Whiskey, known in some parts as Drunken Hiccups, is famous in the “Hill Country” of Texas. His son, Bill Newcomer, later sent additional dance calls used by his father.

On the afternoon of May 4 Mr. Saathoff and Mr. Evans recorded their rendition of the Fox and Hounds, with Charles Eckhardt blowing the horn and calling the dogs; using an old-fashioned cow-horn which he had polished himself and had used on his ranch for many years. He recorded other ranch calls made with this horn. These men are all Hill Country” ranchmen (sheep). Mr. Eckhardt is a skilful tanner, leather-tooler, hunter, fisherman. When he visited the Lomaxes' cabin he was wearing his “new” buckskin shirt, which he had shot, dressed, treated and sewed himself, and which he had been wearing five years. He has a complete Indian outfit which he made by the same process. At Bandera County celebrations he assists the director, Mr. Hunter, by exhibiting his treasures and shooting arrows and otherwise “playin' Injun”.

On May 5 Mr Lomax called on Mrs. Fletcher Layton at her home near Medina in Bandera. Mrs. Layton is chairman of the National Music Week celebration in Bandera Co. She assisted Mr. Lomax in interviewing singers. At the home of Beal D. Taylor recordings were made by mr. Taylor, E. A. Briggs and Mr. and Mrs. Braley See notes on records, and texts.

J. A. L. '39 TEMPORARY #01 Bandera #1, Pipe Creek, Tex.

The fiddle tunes and breakdowns on this record were played and sung by Elmo Newcomor, in his banch hom o on the San Antonio-Bandera Road, near Pipe Creek, Texas, Bandera Co. May 3, 1939 Mr. Newcomer was introduced to Mr. Lomax by J. Marvin Hunter, editor of Frontier Times and Director of the Frontier Times Museum in Bandera, Texas. Mr. Newcomer and his family of wife and four children live in a very old two-room house, where Mr. Newcomer lived from the age of two, and where his mother died when he was four. He has “always” played these tunes and is a favorite caller at dances. His Rys Whiskey with antics is a general favorite at fiddle contests. Mrs. Newcomer is a member of the school trustees of Pipe Creek.

His gr eting to Mr. Lomax was “Shake, boy. I8ve heared about you all my life. Me an' a neighbor boy was both left to live alone with our fathers. We read in a paper when we was about fourteen years old, that you was selli' a book of cowboy songs. So we scraped our savings together an' sent' em to you an' sure 'nough here come the book. Here, Clyde, Bring me that cowboy song book. Can you reach it? (It's put away up high where the baby can't reach get to it). We read it and sung from it so much and loaned it out so much that it's might nigh tore up.” There was the book of cowboy songs, no two pages hanging together, but apparently all there between the covers, one of the 1910 edition. Attached:Elmo Newcomer's letters (dated Nov. &Dec, 1911) ordering book, found in Lomax file.

A 1. Cotton Eye Joe Elmo Newcomer, Pipe Creek, Texasfiddled and sung file. Hold my fiddle and hold my bow, And knock the devil outa Cotton Eye Joe Ooh—ooh-oo-oo-oo etc. I'd a got married twenty years ago Had it not been for Cotton Eye Joe I'd a got married six or seven years ago, Had it not been for that little word No. Some folks say that a nigger won't steal, But I found three in my cornfield. One had a bushel and one had a pe ck, And one had a roas'n ear around his neck, Rawhide fiddle and cornstalk bow, Look out over there for Cotton Eye Joe. How in the world do he old folks know That I like sugar in my coffee, oh. Long-tailed buck an' a short-tailed doe, But I take sugar in my coffee, oh.

A 2. Mabel …Schottische fiddle tune with words …Elmo Newcomer Love it is an awful thing, beauty is a blossom; And if you want your finger bit, just stick it et a possum. Glory to the meetin' house, and glory to the steeple (stable?) Glory to the little that they call Mabel.

B Turkey in the Straw fiddle by Elmo Newcomer, banjo-Bill Newcomer. Went out to milk an' didn't know how, I milked a goat instead of a cow. Saw a turkey settin' in a pile o' straw, winkin' at his mother-in-lawI went out to milk an' didn't know how, I milked a goat instid of a cow. Picked up a rock an' whaked him on the jaw, And he kicked up a tune called Turkey in the Straw.

JAL '39 Recording Trip Bandera and Medina Elmo Newcomer Copy of letters of J. E. (Elmo) Newcomer to JohnA. Lomax, ordering Cowboy Songs, referred to in notes on Elmo Newcomer's recordings.

Pipe Creek, Texas Nov. 11, 1911. Mr. John A. Lomax, Extension Department of the University of Tex. Dear Sir:- I am writeing to find out if you still have the book called the Cowboy songs—an Appreciation; and if pleas write me and till me what the price is and how to send for it. Awaiting your reply I am Very truely yours J. E. Newcomer Pipe Creek Bandera Co. Texas

Pipe Creek Tex Dec 1911 My Dear Sir:- Please find inclose a Post Office money order for $1.64 one dollar and sixty four cents. For your book cowboy Songs and Appreciation. Please send it by return mail Very truely yours J. E. Newcomer Pipe Creek Bandera Co. Tex. John A. Lomax (Written across bottom in JAL's writing: Mail Dec. 19, 1911)

J.A.L. '39 TEMPORARY NO Bandera #2, Pipe Creek.

The songs and fiddle tunes on this record were made by Elmo Newcomer in his ranch home near Pipe Creek, Bandera, Co., Texas, May 3, 1939 For information about Mr. Newcomer see notes on preceding record.

A 1. Blue-eyed Suzy fiddle tune with words. Sometimes drunk, som times woozy, sometimes dance with my blue-eyed Suzy Love my wife, love my baby, and I love them flapjacks floatin' in gravy. All I want to make me happy is two little boys to call me Pappy. One named Dick, the other named Davy, Come to your Daddy, you pore little baby.

A 2. Unfortunate Puppy …fiddle tune with couplets. Why can't a white man dance like a nigger, Oh, just because he can't cut a figger. Doggone a ryestraw, doggone a riddle, oh, Doggone a little boy playin' on a fiddle, oh.

B Rye Whiskey with “capers”with creasand hicooughs. Most of Mr. Newcomer's words are the usual ones. The following couplets are less frequently seen: Rye Whiskey, you vilyan, you've been my downfall You've kicked me an' cuffed me, but I love you for all. Rye Whiskey, Rye Whiskey, I wish you no harm, Wish I had a bottle as long as my arm. Oh they say I drink whiskey, but I spend my money well, And them that don't like it can go–you know where. Beafstea k when I'm hungry, liquor when I'm dry, A purty girl ken I'm lonesome, an' heaven when I die.

Additional words DANCE CALLS OF ELMO NEWCOMER *Pipe Creek, Bandera Co., Texas contributed by his son, Bill Newcomer–May 8, 1939

(First figure) Pardners to their places Like mules to their traces Put your hands in your pockets Turn your backs to the wall Take a chew of tobacco And balance all Swing your pardners Corners all Now your pardners And promenade the hall First couple out to the couple on the right, and round up four. Elbow hug and Chinese swing Sandhill twist and a double swing On to the next and the next couple follow (Note: repeat clear around till the last couple has couple has finished) Balance all Swing your corner and swing it with a with a smile Granb your honey and go hog wild

(Second Figure) Everybody dance as pretty as you can Swing your corner with your right hand Pardner with your wrong Grant right and wrong all night long Watch your pardner, watch her close When you meet her double the dose Hang your dogs and kill your cats And double the dose with ruff on rats Lawd, Lawd, aint we got fun Dance up boys and dont be slow All these girls are rarin' to go All you gals who dont wear socks Shake your hips and rattle your hocks Meet your hon'y and promenade home

(Third Figure) Balance all Swing on the corner like swingin' on a gate. Now your honey and pull your freight First couple out the couple on the right Lady around the Lady and gents so low Lady around the gent and the gent dont go Swing with your right and and now your wrong Docy ladied all night long Onto the next,-chase the possum, chase the squirrel Chase that pretty girl around the world Ladies docy Gents cut a shine Swing your sweetheart and I'll swing mine On to the next and the next couple follow Chase the possum, chase the skunk Chase that pretty girl around the chunk Ladies docey and gents go gee Swing that pretty girl and then swing me (And so on until the last couple has gone around) Everybody dance Swing your pardner and promenade the hall for the last time.

J.A.L. '39 Temporary No. Bandera

Temp. No. 48- Elmo Newcomer: Eph caught a rabbit-fiddle with words Saathoff and Evans: Fox and Hounds fiddle and guitar

No. 49- Wagner: played by Saathoff and Evans A & B Dance calls by Elmo Newcomer

No. 50 A-Sam Bass– sung by A. E. A. Briggs, Medina, Texas …May 5, 1939 Cowboy's Lament,“““

B- Frail Wildwood Flower.. sentimental song by Beal D. Taylor, Medina, Texas Billy Boy— sung by Loretta Taylor daughter, aged 10 and Mrs. Mr. Braley, aged 74

51 51. Mr. Braley: Rov ing Gambler Mr and Mrs. Braley: Evening Grace–white hymn-tune-long meter

(B. side has children's songs sung by Mrs. Shirley Lomax Mansell)

58- A Farm Calls–(some with cow horn)–by Charles eckhardt, Bandera, Texas, May 4, 1939 Fox and Hounds–fiddle by Saathoff and Evans, Bandera “““

B side–recordings from Goree State Farm

59 A 1. Texas Ranger—by E.A. Briggs Beal D. Taylor, Medina, Texas

(A 2 Cummins Farm recording)

B 1. Texas Ranger—by Beal D. Taylor,Medina, Texas..May 5, 1939

2..Announcement (Cummins Farm sons)

60 A 1. The Old Woman A 2. Jesse James–both sung by E. A. Briggs, Medina, Texas. 5-5-39

B 1. When the work's all done (cowboy song)–B. D. Taylor, “ “ “

(Cummins Farm recordings–B 2)

Above Medina recordings were made in the home of Beal D. Taylor near Medina. Singers were inroduced by J. Marvin Hunter of Bandera and Mrs. Fletcher Layton of Medina. E. A. Briggs and Beal D. Taylor know many western and sentimental songs. Mr. Taylor has an interesting scrap-book of words of old songs and other poems that have appealed to him. mr. and Mrs. Braley sing hymns in long meter style. Mr. Braley is a carpenter by trade. He is Mrs. Braley's second husband. Mrs. Braley was left a widow with six daughters. She took in laundry, raised chickens,drove carried mail horseback, farmed and gardened to make a living for her family, all with the handicap of having only one leg. Mr. Briggs was a cowboy, now a rancher and farmer.

JAL '39 Recording Trip

Comanche (and Lubbock) Texas

May 1939

Mrs. Shirley Lomax Mansell (Mrs. C. C. Mansell) of Lubbock, Texas, made recordings in the home of Judge and Mrs. Oscar Callaway, at the Callaway Ranch, Comanche Co., Texas, of children's songs and lullabiesb which she learned in her childhood from the singing of her mother, Mrs. Bess Brown Lomax. Mrs. Lomax learned many of these songs from her mother who came to Texas from Virginia. Mrs. Mansell sings these songs to her own two little girls. She is the daughter of John A. Lomax, who made the recordings.

Mrs. Mansell’s songs are scattered over several different discs.: 2590, 2591, 2631, 2633, 2636, 2638, 2642, 3796, 3800

Titles: All the pretty little horses Go tell Aunt Nancy Little kitty (once there was a-) (Long time ago) There was a piggy (Tale of a little pig) Old woman and the little pig I love little willie Billy Boy I hardly think I will Paper of pins Crows in the garden No, sir, no sir (?)

ALL THE PRETTY LITTLE HORSES

Shirley Lomax Mansell, who writes the following note, not only speaks for herself here, but for practically every other Southern girl who has ever been rocked to sleep or who has ever sung to her own babies. For “All the Pretty Little Horses” can be found in the repertoire of every southern family, Negro and white; it is the classic of southern lullabies. It is sung in a thousand different ways by as many singers; the “pretty little horses” may be “blacks and bays” or “dapples and greys” but, whatever their color, they have carried almost every southern child off to sleep at one time or another. Here is what Shirley says about the way the song was sung in our family:

All the Pretty Little Horses is a family song. There is not a time when I do not remember it. I am sure it was Grandmother Brown’s song; from our mother it now belongs to her four children. Grandmother did not often sing anything but hymns, and those mostly on Sunday afternoons when she rocked back and forth in her little straight, cane-bottomed rocker, alone in her room. Grandmother did not believe that on Sunday people should do anything but attend Sunday School, then church, then read the Bible until time to go to evening services. Her disapproval of our Sunday afternoon walks, when the children from all the neighborhood gathered to explore the woods, or “walk through to the Dam”, caused her to shut herself into her room and rock and sing, and I am sure, pray for forgiveness for us all. Her lips would shut into a thin line, and her eyes fill with tears.

But Grandmother Brown loved babies, and she sang to us all, and rocked us, hours and hours, in that same little chair. All the Pretty Little Horses is a wonderful lullaby. The phrases can be changed, a line or two of hums can be put in at will instead of the words, at will, and the baby drifts off into sleep, floating with the little horses the song blends with the squeak of the rocker and the pat of the foot on the rug. The horrible verse about the “bees and the butterflies” was not sung in our house, and should never be used—what baby could sleep with such a pitiful and ghastly picture stamped into his dreamy little soul? I still sing it to my girls when they are ill, but they always request that that verse not be sung. And I don’t blame them.”

Dorothy Scarborough in her book On the Trail of Negro Folk-Songs says that this is one of the lullabies Negro Mammies sang to their little white charges.

ALL THE PRETTY LITTLE HORSES Hushaby, Don’t you cry, Go to sleepy, little baby, When you wake, You shall have All the pretty little horses— Blacks and bays, Dapples and grays, Coach and six-a little horses. Hushaby, Don’t you cry, Go to sleepy, little baby. Hushaby, Don’t you cry, Go to sleepy, little baby. Way down yonder In de medder There’s a po’ lil lambie; De bees an’ de butterflies Peckin’ out its eyes, De po’ lil thing cried, “Mammy:” Hushaby, Don’t you cry, Go to sleepy, little baby.

JAL '39 Recording Trip

Austin, Texas

May 9, 1939

No recordings were made in Austin. The machine was tested by an electrician and radio man.

Alex Moore, cowboy singer, and members of the Gant Family, mountain ballad singers, could not be found.

Mrs. Clark, matron of a boys’ dormitory at the Texas School for the Blind, was not at home when we called. She talked with Mr. Lomax by telephone and promised to send him the titles and texts of some folk songs handed down in her family. Her name was suggested to us by her brother, Professor Bass, of the Texas College of Arts and Industries, Kingsville, Texas.

From the School for the Blind we drove on to Taylor, Texas in search of “Clear Rock”.

JAS'39 Recording trip Taylor, Texas.

Mose Platt (“Clear Rock”) May, 1939.

About “fust dark” of a May evening Mr. Lomax stopped his car on the outskirts of Taylor, Texas and enquired of some Negores, who were sitting on their cabin stoop, whether they knew “Clear Rock,” a singin' Negro who had been released recently from the state penitentiary. They did not know “Clear Rock,” but Mr. Lomax's description fitted a fellow called “Wyandotte” (pronounced “Winedot”) who usually hung around a barber shop on the other side of the railroad. An eat-shop Negro confirmed the belief that Clear Rock and Winedot were one and the same Negro, namely Mose Platt. Now Clear Rock on earlier recording trips had been one of the most fruitful sources of Negro stories and songs, especially work-songs and other secular songs. And so the search was on: on the promise of a dime a boy conducted us to Clear Rock's home, only to hear from neighors that Clear Rock and his wife had been seen going up the tracks towards town just ten minutes ago; twenty-five cents was to be the reward for bringing him to our hotel. No word had come by breakfast time, and so Mr. Lomax started out afoot in earch. When he returned to the hotel two hours later, there he found Clear Rock, sitting on the running board of the Lomax automobile; with him was his two-hundred-fifty pound wife, his “seventeen wife,” as he told Mrs. Lomax later. They had been waiting at the car from six o'clock. The wife, looming too large for our small hotel room, was dismissed with breakfast 0133 money.

Clear Rock himself was ready and willing to do anything the “boss” asked, except to stop talking. To unwind him somewhat, Mr. Lomax let him record some stories first. The two had met previously at Central State Farm, wherein John A. and Alan Lomax made some recordings. But Mr. Lomax wished to re-record some of the Negro's best songs with the improved machine. At first Clear Rock was slow at entering into the spirit of the old work-songs, “disremembering” the words of some of them, because perhaps of two circumstances: Clear Rock was now “The Reverend Mose Platt,” devoted to hymns and spirituals, and what secular songs he indulged in were mostly modern jazz, sung for the entertainment of his white friends. But Mr. Lomax's cajoling words and a substantial contribution to the next Sabbath's collection helped Clear Rock to overcome his handicaps, and he was off. For four hours he told stories and sang and preached and prayed.

Clear Rock's “off the record” stories are rich in themselves. He is on relief, but occasionally gets an extra tip for services around the county Court House and the Post Office. He complains that “relief hardly dont give us nothin' to eat except grape-fruit.” And his pastorate does not pay much, though he has added four women to his board of deacons “to take keer o' de money, 'cause de mens mought take de collections and lose 'em all at playin' craps.” He claims to be well and strong physically; “de doctor health man says I 0134 aint got a sickness nowhere; he says my whole body is as clean as de pa'm o' your hand.” Asked about his release from the penitentiary, he explained: “One day some o' my white friends in Taylor heard dat Miss Ferguson (Gov. Miriam Ferguson) was goin' to be down at Central a-visitin; and they sont a car down there wid a letter signed by thirty thousand peoples; they was de names o' all de promnent layers an' officers an' all the other whichocrats around Taylor, and Miss Ferguson let me go free.”

When Clear Rock first returned to Taylor after his release he solicited contributions from his white friends, presenting the following plea; evidently dictated by him.

“We certifies that we knows Mose Platt and that he has been up to this time a good hardly working man. He is sick and his wife is sick, he is unemployed and aint got no job, and not able to demand no job whatever and his doctor is Mr. Doaks and Doaks, and the judge of Williamson County, which he is worked for is Mr. Judge Burnap and his boss lawyer Mr. Lawhon and also Captain Boss Mr. Booth of the bank, also Mr. Richards and Judge Davis, also Mr. Challener, also Mr. Connolly, also Mr. Speegle, also Mr. M. B. Connolly, also Mr. Howard Bland, also Mr. Prewitts, in fact all Prewitts, also Mr. Lloyd Payne, also Mr. Hewitt, the drugstore man also Mr. Brunner the postmaster, also Mr. Lawyer Fox, also Mr. Wolford, the lawyer, also Mr. Judge Black, and so he has been sociable with his fellowman, this Mose Platt and also trustworthy. Also Mr. Judge Governor Allred, and also Governor Ferguson. We wish you would hereby contribute to him and we thank you very much, also Mr. Judge Roach.

John A. Lomax '39 Recording Trip Taylor, Texas March 8, 1939.

We certifies that we knows Mose Platt and that he has been up to this time a good hardly working man. He is sick and his wife is sick, he is unemployed and ain't got no job, and not able to demand no job whatever, and his doctor is Mr. Doak and Doaks, and the judge of Williamson County, which he is worked for is Mr. Judge Burnap, and his boss lawyer Mr. Lawhon, and also Captain boss Mr. Booth of the bank, also Mr. Richards and Judge Davis, also Mr. Challener, also Mr. Connolly, also Mr. Speegle, also Mr. M. B. Connolly, also Mr. Howard Bland, also Mr. Prewitts, in fact all Prewitts, also Mr. Lloyd Payne, also Mr. Hewitt, the drug storeman, also Mr. Brunner the postmaster, also Mr. lawyer Fox, also Mr. Wofford, the lawyer, also Mr. Judge Black, and so he has been sociable with his fellowman, this Mose Platt, and also trustworthy. Also Mr. Judge Governor Allred, and also Governor Ferguson and also Mrs. Ferguson. We hereby wish you would contribute to him, and we thank you very much, also Mr. Judge Roach.

JAL '39 Recording Trip Taylor, Texas

May 10, 1939

Mose Platt (“Clear Rock”) Clear Rock's songs are scattered over the following discs: 2643, 2644, 2645, 3801, 3802, 3805

Titles: Go down ole Hannah Pick a bale No mo' cane on de Brazis Jesus bosom is yo' pillow Wild Geese Long John Bad Management (story) Cat Story Ghost Story Old Rattler

J.A.L. '39 2643, 3805 TEMPORARY NOS. 53 & 54

Taylor, Texas—May 10, 1939 May 10, 1939

53 A records four of Clear Rock's stories, poorly told

B Old Rattler sung by Clear Rock in a hotel room in Taylor, Texas

54 A. 1. Go down, Ole Hannah Well, go down, ole Hannah, Hannah don't be slow I'm goin' git dat ole mean Cap'n le 'less he help me on my row Well if I beat you to Big Muddy,an' happen to cross de line L'll be sel'len seen an' mighty hard to find I'm goin' stop dat big ole nigger fum walkin' de floor … Well, you better not be monkeyin' wid my Blood Red Rose ”” Well, I'm goin' down de river. place where you never go I'm goin'down de river, down on dat bottom, you know Well, if you're lookin' for bright heaven, you better stop an' try ””” Well, I got a good captin, got a squabblin' boss, It's might near wo rryin' my pore self away Well, well, blow, blow Well, while I'm gettin' dis tree down, don't come here no more.

A 2.

A 2. Pick a bale..by “Clear Rock”, Mose Platt Usual text, with this additional: (See: American Ballads and Folk Songs) Oh, will I, will I pick a bale o' cotton Nigger fum Shiloh pick a bale a day

B 1. No more cane on de Brazos ..sung by Mose Platt, “Clear Rock” Taint no mo' cane on de Barzed (Brazos), ho-ho-ho Dey done ground it all up in molasses” Load up de carry (?) and break all down Come on, bullies, let's make another round Dead man caint move, done put away Down by… Nigger jumped i de Brazos an' he's bound to drown He left de elad row right off de ground You ought to been here in nineteen four Seen a dead man at evey turn row You ought to been here in nineteen ten Drivin de women like dey drive de men

B 2. Black Betty-a tree-cutting song. Clear Rock says “Black Betty was a old nigger woman right outa Goree” (state farm for women) Oh Black Betty-bam-ba-lam Oh, Black Betty–bam-ba-lam

(OVER)

Black Betty's in de bottom, bam-ba-lam jez' hewin' on de timber” Black Betty had a baby, ” The thing went crazy Jes' drinkin' river water Jes' jumpin' to a number Jes' hewin' in de bottom

Wild Geese - Taylor May 10, 1939. 2644 Lord, Lord, Lord - Well, Wild Geese flyin' all over: Oh Lawdy, it's goin' be cold. It's bound to be cold. Oh, Lordy, Lordy, Blow, blow I'm goin' to the nation, man where you can't go Well the wild geese flyin' all over Oh. Sargeant, it's goin to be cold. Well I'm never comin' in this bottom Man, down here, no more Well, come here somebody, oh Lawdy man, come help this row Gettin' be cold weather, freezin' weather you know Well, I woke up this mornin' oh Sargeant an' it looked like rain Well along dat curve Spied a gravel train Well, Some of em come here crippled, Oh Lawdy, don' come here soon If they hear 'bout hard labor being every man's doom Oh Lawdy, Lord, Lord, Lord, hard labor this doom, Don' come here no more. I'm goin' stop that bully nigger Cap'n from walking de floor I'm goin' stop that old nigger I'm goin' stop keep him off o' my the row.

Over/ Wild Geese flyin' over Lawdy goin to be cold “ time to be flyin all over Better not be my and my Wild Blood Red Rose If I went down to de Brazos, hopin to cross de line I'll be seein' — man, mighty hard to find Long John Well Oh I blieve to my soul, Oh Captin it's jedgment day Well, I “ I&ll worry, man, my poor self away . Well, come here some old body, Oh Captin, want you to tell me so - Well, I want you to send me somebody, Cap'n, to help me on my row Well, some come here crippled, Oh Lawd, while others somecome here lame Well, some come here walkin in de boss man's name Well I got a mighty good old Captin, O and a squabblin boss. Well it might mean run all the niggers all clean off. Well if I beat you to do nation, happen to cross de line I'll be be mighty hard to find. “sellon” (seldom) seen If I live to be next month, I'll be fifty-one which I suppose is fine My wife says I'm seventy-one.

Old Rattler - Clear Rock. 2645 Oh, oh, Rattler, Here Rattler, here. I think I heard a horn blow goin' cross de country where you can't go. I heard old horn blow - If I trip dis time, I won't trip no more Goin' 'cross de bottom where de nigger can't go. Here Rattler, etc Dog barking. Oh come on nigger let&s mark it here If — Brush is big enough for you an me Believe to my soul he's hard to find Rattler's hard to find' Goin' off de place & I'll leave de plantation, I'll leave today If I do go I'm gone to stay. Run dat nigger away from de dam If I trip dis time, neednt trip

Run dat bully right dat tree I'm goin down to the other place Old rattler goin give him a Keep you up in de tree all day Then I heard dat horn blow - Run him right my away from dat.

Hotel Blazilmar 2645

Fireproof

Steam Heat

Large Combination

Sample Rooms

Ceiling Fans

Sanidown Mattresses

Popular Rates

Taylor, Texas

JAL '39 Recording Trip Merryville, La. Rev. J. R. Gipson

May 15, 1939

Reverend J. R. Gipson, “Blind Gipson”, was introduced by H. R. Weaver. He is a well-known Negro Baptist evangelist who supplements his sermons with the singing of “jazzed” spirituals, playing his own accompaniment on the piano. His loud chords topped by loud, husky singing, made an interesting combination, but one difficult to record. Some spirituals he sang without piano accompaniment. His wife and two neighbor children came with him to the Weaver home, where the recordings were made. They assisted him with some of the spirituals, and the children sang two game songs. Though Rev. Gipson makes his home in Louisiana he is pastor of the Antioch Baptist Church at Buna, Texas.

It's cool down here at the River Jordan: (Chorus): It's cool down here at the River Jordan (Jurdan) Oh, it's cool down here at the River Jordan, It's cool down here at the River Jordan But my Lord says come on anyhow. Well I went down in the valley And I did not go to stay But my soul got happy in Jesus And I sure did stay all day (?) I would not be a sinner And I tell you the reason why, I fear my Lord might call on me And I wouldn't be ready to die.

Old Ship o' Zion It is that old, old, old Ship o' Zion (3 times) Git on board, ah board, ah board, git on board. She is movin' very slowly, etc My old mother is waitin' for me, etc. I'm so glad I got my ticket, etc.

JAL '39m Recording Trip Merryville, La.

I'm lookin' for that man that don't know Jesus (Chorus): I'm lookin' for that man, that man, that don't know Jesus (3 times) I want him to sign his name. Well, I would not be a sinner I'll tell you the reason why, I'm 'feared the Lord might call on me And I wouldn't be ready to die. I wouldn't be a gambler, etc. (same as 1st stanza) I would not be a drunkard, I'll tell you the reason why; Some sudden pain might strike-a my heart And I wouldn't be ready to die.

Christ is coming on the cloud Cho: Christ is coming, Christ is coming on the cloud (repeat) Oh, spread the tidings round wherever man is found, Christ is comin', Christ is comin' on the cloud. Oh, they tell me every knee must bow, (repeat) Oh, spread the tidings round whever man if found, etc. Oh, they tell me every tongue shall confess, etc Oh, they tell me every eye shall behold (Be oped?), etc.

Do, Lord, remember me (or, When my blood runs chilly and cold) (Assisted by his wife) Chorus: Do, Lord, do, Lord, do remember me (3 times) Do, Lord, remember me. When my blood runs chiller (chilly) and cold, do remember, mec (3) Do, Lord remember me. I've got a home in Beaulah Land, outshine de sun (3 times) Way beyond de sky. Oh, de shoes that my God give me, outshine de sun Way bey ond de sky. Oh, de robe that my God give me outshine de sun, etc. Ef you don't wear no crosses, you can't wear no crown, etc. Oh, de crown that my God give me outshine de sun (3 times) etc.

JAL '39 Recording Trip Merryville, La.

Fisher children,-Geraldine and Wilford Jerome—May 15, 1939

These neighbor children of Rev. Gipson sang two ring game songs:

Green old tree, O rocky row — ring game Green old tree, O rocky row (repeat) Hug and kiss her 'fore she go, Don't give her a chance, O yes, I know. Note: The schoolmates of the Fisher children later sang this song, but gave as the last line: Don't give a chance for her to go.

LittleSallie Walker (a favorite game song among Southern Negroes) Little Sallie Walker, sittin' in a saucer A-cryin' out her eyes over half a glass o' water. Rise, Sallie, rise, wipe yo' weepin' eyes, Put yo' hands on yo' hips, Let yo' backbone slip, Shake it to the East, shake it to the West, Shake it to the one that you love the best.

JAL '39 Recording Trip Newton and Wiergate, Texas

May 15–19, 1939

Alan Lomax had urged us to go back to see Henry Truvillion and get all he had this time. We found that an order impossible to fill, so versatile is he and so varied his experiences. It was Henry Truvillion, then, and Mr. H. R. Weaver of Merryville, La., across the Texas line, that took us to East Texas.

We made Newton our headquarters for sleeping. We found Henry Truvillion's farm home on the main highway between Newton and Burkeville, closer to Burkeville though Newton, R. F. D., is his postoffice.

A few miles our from Newton we saw a neat white schoolhouse with Negro children playing in the yard. Several little girls were singing a ring game. We stopped and watched, looked up the principal and asked to interview the children about songs. The principal quickly understood our mission and soon had the entire school assembled in the largest of three classrooms. of this Liberty High School. The children responded well and sang and recorded for about an hour.

List of Liberty High School (Negro) songs. Mail address: Newton, Texas

Old Speckled Lady- Leaders: Bessie Helen Hunter, Doris Henson, Allene Simmons, group of girls

Julie Leader: Willie Mae Jones, assisted by boys and girls

Suzann Leaders: Bessie H. Hunter, Leroy McBride, Sevilla Holm Holmes

A-tisket, a-tasket– ” Ella McBrise with group of girls

Billy Boy Bessie Hunter, Fred Hunter

Lullaby–Sweet Babe of Mine: Margie Mattox

I got to go to Judgment (Spiritual) led by Hattie McGuire

The sun didn't shine on beyanders mountain–(spiritual)-Quartet of girls

Hard Times: Rowena Knight, Mary Anne Knight, Thelma Hawthorne, Jerusha Hawthorne

Lost my han'kerchief

JAL '39 Recording Trip Newton, Texas

May 16, 1939

Liberty High School–Song Texts

Old Speckled–(incomplete) Old Speckled Lady–Too-de-loo Fresh from the kitchen–too-de-loo With a panful of biscuits–too-de-loo

Julie—(Text written out by singers–) Hey, Julie, hey, Julie what the matter now All night long through summer day Julie run away the other day Reckon where I found her way down yonder A crowd of buzzar around her Some had a knife, others had a gun Last time I seen her Julie broke and run I went to the river, I couldn't get across I steaped on a aliagator and thought it was a log. I went to the river bob (hop?0 the sue (?) Breakfast on the table doodle-do-do.

Suzann— Oh Rose (Suzann) you stole my pardner (Suzann) G oin' git me another (Suzann) jes' like that other (Suzann) You Dixie devil (Suzann) you got a foot (Suzann) Jes' like a shevil* (Suzann) *Shevil–shovel

A-tisket, a-tasket- (a drop-the-handkerchief game) A-tisket, a-tasket, a green and yellow basket I wrote a letter to my love and on the way I dropped it; I dropped it, I dropped it, yes, on my way I dropped it, Sure one of you have picked it up and put it in your pocket. It's you,- it's you,- it's you, it's you– (Chase begins)

Billy Boy–sung by Be sie and Fred Hunter, sister and brother, who learned this from their mother. Text varies little from the usual versions except for the addition of the following, which gives some local flavor to the song.

Can she wash a white shirt? etc. Yes, she can wash a white shirt without leavin' a speck o' dirt.

Sweet Babe of Mine–Lullaby: Mr. Lomax offered a quarter to any pupil who would sing a lullaby that he would record. Finally a tall awkward girl whispered that she knew a lullaby. She wouldn't sing before the crowd, but consented to go into the coat-closet where she sang the following: Lullaby, lullaby, sweet babe of mine Hushaby, hushaby, eat ways be thine She must have need the quarter badly, for she was covered with confusion. She could not explain what “eat ways be thine”

JAL '39 Recording Trip Newton, Texas Liberty High School – cont'd. May 16, 1939

Texts of songs–

I got to go to Judgment I got to go to judgment to stand my trial (repeat) I can't stay, (4 times)

The sun didn't shine The sun didn't shine on be-yonders mountain Oh, the sun etc. When my Lord was dyin' on the cross Oh, Pilot's wife she had a dream 'Bout an innocent man she'd never seen Bring me a bowl and let me wash my hand I won't be guilty 'bout an innocent man.

Hard Times Hard times, hard times got ev'ybody strugglin'; Not only got you, got me, O Lord Got de rich de rich, got de pore Got de high and low an' I don't know what to do You can read your Bible, better not read too slow It saw in de Bible things you need to know You read the Revelation, chapter six and ten You can find it in de Bible all about God and men.

JAL '39 Recording Trip Newton, Texas Liberty High School– further notes—

May 16, 1939

Faculty– Principal- S. D. Ramsey, who lives next door at teacherage.

Teachers: C. W. Simm ons Lida Bennett R. Coleman Hattie McGuire

Julie : Notes on. Children arrange themselves in two lines. Clap as they sing. At Julie skip to meet partners and swing them.

Old Speckled Lady Old Speckled Lady–Shoo-lay- Fresh (Jes') from de kitchen-Shoo-lay Handful o' biscuits–Shoo-lay And thimble too–Shoo-lay Old Miss Simmons, jes' take my place. (Jes' take my place–change partners)

Lost my handkerchief- a drop-the-handkerchief game Lost my han'kerchief yestiddy I found it today, I found it today All muddied up and I dashed it away, Dishma, dashma, dishma, dashma, dishma, dashma (Begin running)

JAL '39 Recording Trip Wiergate, Texas Wiergate High School (Negro)

May 16, 1939

Wiergate is the headquarters of the Wier Lumber Company, which employs many Negro workmen. While we were waiting to see some the Wier officials, we drove over to “the quarters”, or Negro settlement; on the school grounds we saw a group of small girls circling around and singing. We could not catch the words. Recess was soon over. As the children were marching in, Mrs. Lomax asked one of the girls what they were playing. “Seed-tick”, she replied. With the permission of the principal and his wife, Mr. and Mrs. Mack, an assembly was called. The same group of little girls sang and played Seed-tick into the microphone. This was followed by others in rapid succession before the buses came to take the children to their home:

Here comes Uncle Jesse (Shake it:)–a ring game Ottie Brails Ford, leader All around the green apple tree—Group Ring around a rosey Seed tick Lost my hankerchief yestiday London Bridge (tug o' war)–revised version Little gal, little gal–chanted duet

Texts:

Uncle Jesse: Here comes Uncle Jesse a-ridin' thoo the field And with his horse an' buggy and buckles on his heel O come on, gal, shake it, shake it Come on gal, shake it, shake it. If you want a feller, I tell you what you do, Jes' git some salt an' pepper an' put it in yo' shoe. O come on, gal, etc. Ring game with “gal” in center; circle marches or skips around, stopping at “come on”; and “gal” in center proceeds to “shake it”.

P. S. Frank Gallaway, a ten-years old, told us he knew a lullaby that his grandmother taught him. He gave us the text, but we had to wait till 1940 to get the tune from him: Go to sleep, got to sleep, go to sleepy, little baby When you wake up, give you patter-cake, and roast you a sweet-pertater See dem cows upon dat hill? Belongs to di, little baby Etc.

JAL '39 Recording Trip Wiergat, Texas Wiergate High School

Texts:

All round the green apple tree All round the green apple tree Where the grass grows so sweet (Miss Margaret) please turn back your back He wrote you a letter to turn back your back So all round the green apple tree Where the grass grows so sweet Miss Gracie Lee, etc.

Ring around a Rosey Ring around a Rosey, pocketful o' posies Light bread, sweet bread, squat! Guess who she told me, tralalalala Mr. Red was her lover, tralalalala If you love him, hug him! If you hate him, stomp!

Seed tick Seed tick's a-bitin' me (“it” in center) Don't care, can't git outa here (players in ring) My mamma callin' me Don't care, etc. Bumble bee's a-stangin' me etc. (Player in center tries to break through ring. When he breaks through, he is chased)

Lo st my han'kerchief — a drop-the-handkerchief game. I lost my han'kerchief yestiddy I found it today An' it's all full o'mud All full o' muddy water An' I th'owed it away, I th'owed it away.

London Bridge Open the gates as high as the sky Let Saint George's horses pass by This is the hatchet, chop (?) her over the head, Chip, chop, cho! (victim held) Break her neck and send her away Send her away, send her away Break her neck and send her away So early in the mornin'. Victim has chosen side, takes place– When all players have taken sides, tug o' war follows

Little gal, little gal – Chanted with response. A duet Little gal, little gal-Yes ma'am, Want to go with me?- Yes, ma'am To Tennessee?-Yes, ma'am, Get a piece o' pie- Yes, ma'am Did mamma whup you? Yes, Ma'am What she whup you about? Cow got on de crossin' an' laid down an' died

(over)

Did de buzzard come? Yes, ma'am How did he come? (Together) To-de-flock- to-de-flu, to-de-flock to-de-flu To-de-flock-flu (Both players imitate flapping of wings)

JAL '39 Recording Trip Merryville, La.

May 16–19, 1939

Herman R. Weaver

Mrs. Alan Lomax had told us that her uncle Herman Weaver knew many old songs and that he also knew all the old Negroes in that part of the country, ha ing been a representative for many years of lumber companies that had flourished there at the height of their prosperity. We therefore presented ourselves to Mr. Weaver, who offered us the hospitality of his home and helped us in every possible way to find singers. We used his home as our “studio”. Mr. Weaver himself recorded two songs: one of special interest is the ox-driving song which he had heard his father sing. He could not recall all the stanzas for the recording, but later he sent into the Library of Congress the full text as it appears in Our Singing Country (John A. and Alan Lomax).

Ox-Driving Song: for text see: Our Singing Country

We go to church in early morn - (Text incomplete)-Learned from father. We go to church in early morn When birds are singing in the trees All day we work in de cotton Oh, — But our hearts are warm with gospel songs (?) Hear dem bells, Oh, don't you hear dem gospel bells Dey's ringing ou de glory of de Lamb. All day we work in de cotton Oh, see dem chariots comin' dis way I know dey's comin' fer me. The land I'm gwine to see.

1939 Library Report Return