WITHIN THE PAST FEW YEARS, an ever increasing emphasis has been given to the folk music of America. Not only are the performances more numerous, but there is also a growing recognition that this music—which America has sung and danced to for generations—is an integral part of our native culture of which we may well be proud.

Folk music comes to us in many forms—work songs, spirituals, jigs, reels, sea chanties and cowboy songs. But of all of these, none are more beautiful and poignant than the ballads most often heard in the Smoky Mountain country of Kentucky and Tennessee. These melodies, while simple in form, require an interpretation calling for a rather distinct type of talent.

Probably more than any singer in the country today, Jo Stafford possesses the unique capabilities necessary for a proper presentation of these songs. In the first place, Miss Stafford is a singer and not just a song stylist. And secondly, because of family ties reaching back to Tennessee, these songs have always been a part of her musical life.

The preparation of these songs is not just the work of a few weeks. Over a year ago, Miss Stafford first sang “He’s Gone Away” on her own radio show. The response was instantaneous and this song was requested more often than any other performed by her that season. This suggested the idea of an album of folk music, and the work necessary to its preparation was begun, with Jo Stafford and Paul WEston choosing six songs from the hundreds available and comparing the many versions of each one which differ both musically and lyrically from one locale to another. (For example, there are over a hundred different interpretations of “Barbara Allen” alone, with no two exactly the same!)

Purists may object strenuously to the presentations of these songs with any accompaniment other than the traditional guitar, but after hearing the records, the listener will agree what the simplicity and loveliness can be preserved and even enhanced by the tasteful use of strings and woodwinds. In the arranging of these songs, Paul Weston has been most careful to preserve the modal form characteristic of each individual melody, and in the orchestration has used only the instruments to be found in a modern symphony orchestra, believing that these interpretations should be styled in such a manner that they might be acceptable in any concert of American music.

• 10121
  • Barbara Allen (2:42)
  • He’s Gone Away (2:58)
• 10122
  • Black is the Color (2:44)
  • Poor Wayfaring Stranger (2:44)
• 10123
  • Red Rosey Bush (2:50)
  • The Nightengale (2:56)

Copyright 1948 — Capitol Records — Made in U.S.A.

Side One

1. Do You Fly Much? (3:07)
2. Boy (4:16)
3. Dr. Herford (5:16)
4. Matchmaker (4:53)

Side Two

1. Race Car Driver (5:42)
2. King Anderson of Parma (3:51)
3. The Warden (4:13)
4. The Baseball Coordinator (3:51)
5. The Swiss Astronaut (3:56)

Steve Allen: If I ever decide to retire as a performer, I plan to make a living writing record album liner notes for people who got their start, or received their most meaningful exposure, on one or another of my television programs. As I suppose is common knowledge, this company includes such funny folk as Don Knotts, Louis Nye, Tom Poston, Gabe Dell, Pat Harrington, Jr., Dayton Allen, Bill Dana, Don Adams, Mort Sahl, Lenny Bruce, Jackie Vernon, Jackie Mason, The Smothers Brothers, Jim Nabors, Mike Nichols and Elaine May, and a few others whose names I’m a cinch to recall about twenty minutes after these pages go to press.

Among the singers there were Andy Williams, Eydie Gorme, Steve Lawrence, Lou Rawls, Miriam Makeba, Marilyn Maye, Jack Jones, and—well, if you want to go back a bit, the regular girl-singer on our old afternoon show on CBS in the early 50’s was Peggy Lee.

None of these luminaries, it seems to me, are more talented than the young man whose humor is here displayed for the first time on record—Tim Conway. Tim was brought to my attention a few years ago by Rosemarie, who had just seen him on Station WJW-TV in Cleveland. I sent for a video-tape, watched literally two minutes of it, and immediately issued instructions to add Tim to our regular TV company. Since the only person in the room at the moment was the janitor, my instructions meant nothing, but Conway eventually came out to Hollywood anyway.

On the strength of his great work that season he was hired not long thereafter by the producers of “McHale’s Navy,” and subsequently added many a laugh to that enjoyable show. More recently he has been the star of his own comedy western series “Rango.”

Because he’s a gifted comic actor, Conway never looks bad, even when he is given less-than-inspired material. But I think that, like many great humorists, he is at his best doing his own stuff, as he does in this collection. I played straight for Tim when he did some of these routines on TV. Even though I’m very familiar with them, this album still makes me laugh.

When you hear it, you’ll know what I mean.

Tim Conway: If you know Ernie Anderson, don’t read this. Ernie is my straight man, that is if you find the material I do funnier than his material. Many years ago I directed Ernie on a local TV show called, “Ernie’s Place.” We would announce such guests as the Mayor of Cleveland who would be appearing on his show that day. Not long after the announcement the Mayor would call and say, “I wouldn’t appear on that show if it….” We would hang up. Moments lator, for lack of a Mayor, I would appear as Ernie’s guest, Dag Herferd, The Mayor. We continued doing this until Steve Allen swept me to Hollywood, an unusual way of traveling by the way. Ernie remained in Cleveland interviewing himself and became very successful. he became Cleveland’s number one personality, but decided to leave all the tinsel and glitter of Cleveland to come to Hollywood. He’s an old announcing pro dating back to the days of the disc jockey. Now he is an actor and my straight man. Since you now know him you won’t have to read this again.

Ernie Anderson: Tim Conway is the funniest man I know, and I’ve known some funny ones, like: Don Rumbaugh, Woody Frasier, Chet Collier, Jack B. Riley, Iggie McIntyre, Linn Sheldon, Big Wilson, Al and Pat, Ronnie Barret, Ann Elder, Chuck Shodowski, Gary Collins, Arron Fox, Ralph Hansen, and a real funny guy, Marty Hawthorne.

Recorded at Bowling Green State University, Bowling Green, Ohio.

Liberty Records LRP-3512

(This was one of my favorite of my dad’s comedy albums when I was growing up. The entire album is great, but my particular favorites are “Do You Fly Much,” “Boy,” and “The Baseball Coordinator.”)

Side One

1. Yankee Doodle (1:11)

   This song was originally sung by the British to poke fun at the ragged-looking Americans. But after the battles at Lexington and Concord, the Yankees sang it back to the British and made it their own. The word “macaroni” in those days meant “fancy dress” — which the Americans did not have. Sung by Robert Michael Jones and Richard Shulberg.

   Yankee Doodle went to town,
   Riding on a pony;
   Stuck a feather in his hat
   And called it Macaroni.

   Chorus:
   Yankee Doodle keep it up,
   Yankee Doodle dandy;
   Mind the music and the step,
   And with the girls be handy.

   Father and I went down to camp,
   Along with Captain Goodin’,
   And there we saw the men and boys
   As thick as has-ty pud-din’.

   Chorus

2. The Ballad of the Tea Party (1:23)

   A sailors’ tune from 1730 was used as the melody for this song. In 1773, angry patriots responded to the British tax on tea by disguising themselves as Indians and dumping 342 chests of tea into Boston Harbor. Your children might enjoy acting out the verses of this song, and can join in on the chorus. Sung by Hermes Nye (Soldier Songs FH 5249 used by permission of Folkways Records)

   Tea-ships near to Boston lying,
   On the wharf a numerous crew.
   Sons of Freedom never dying,
   Then appeared in view!

   Chorus:
   With a rink-tum, dink-tum,
   Fa la link-tum, then appeared in view,
   With a rink-tum, dink-tum,
   Fa la link-tum, then appeared in view!

   Armed with hammers, axes, chisels,
   Weapons new for war-like deed,
   Toward the tax-éd, freighted vessels
   On they came with speed.

   Chorus:
   With a rink-tum, dink-tum,
   Fa la link-tum, on they came with speed.
   (2 times)

   Overboard she goes my boys, ho,
   Where darkling waters roar:
   We love our cup of tea full well but
   Love our freedom more.

   Chorus:
   With a rink-tum, dink-tum,
   Fa la link-tum, love our freedom more.
   (2 times)

   Deep, into the sea descended
   Curséd weed of China’s coast;
   Thus at once our fears were ended,
   Rights shall ne’er be lost!

   Chorus:
   With a rink-tum, dink-tum,
   Fa la link-tum, rights shall ne’er be lost!
   (2 times)

3. Ten Green Apples (1:17)

   Counting songs were as popular in colonial times as they are today. This tune was adapted by Alan Mills from a popular English song. The easy lyrics are perfect for singing along. Sung by Alan Mills (14 Numbers, Letters and Animal Songs FC 7545 used by permission of Folkways Records)

   Farmer Brown had 10 green apples hanging on a tree.
   Farmer Brown had 10 green apples hanging on a tree.
   Then he plucked one apple and he ate it greedily,
   Leaving 9 green apples a-hanging on a tree.

   Farmer Brown had 9 green apples hanging on a tree.
   Farmer Brown had 9 green apples hanging on a tree.
   Then he plucked one apple and he ate it greedily,
   Leaving 8 green apples a-hanging on a tree.

   Farmer Brown had 8 green apples hanging on a tree.
   (Etc.)

   NOTE: Have children continue the song until there are “no green apples a-hanging on a tree.”

4. The Erie Canal (1:10)

   Finished in 1825, the Erie Canal helped to open the territories of Illinois, Michigan, and Wisconsin. Bridges over the canal were quite low, hence the cry: “Everybody down!” Sung by Robert Michael Jones and Richard Shulberg

   I’ve got a mule, her name is Sal,
   Fifteen miles on the Erie Canal.
   She’s a good ol’ worker and a good ol’ pal,
   Fifteen miles on the Erie Canal.

   We’ve hauled some barges in our day,
   Filled with lumber, coal and hay;
   And we know ev’ry inch of the way,
   From Albany to Buffalo.

   Low bridge, ev’rybody down!
   Low bridge, for we’re comin’ to a town!
   And you’ll always know your neighbor,
   you’ll always know your pal,
   If you’ve ever navigated on the erie Canal.
   (2 times)

5. Goober Peas (2:08)

   This song became popular during the Civil War. At that time, the lyrics were credited to, “P. Nutt, Esq.” (obviously a pseudonym.) Children will enjoy singing along. “Goober” comes from the African “nguba” meaning peanut. Sung by John Cohen and the New Lost City Ramblers (Songs of the Civil War FH 5717 used by permission of Folkways Records)

   Sitting by the roadside on a summer’s day,
   Chatting with my messmates, passing time away,
   Lying in the shadow underneath the trees,
   Goodness how delicious, eating goober peas!

   Chorus:
   Peas, peas, peas, peas,
   Eating goober peas!
   Goodness how delicious,
   Eating goober peas!

   Just before the battle the gen’ral hears a row,
   He says, “The Yanks are coming, I hear their rifles now.”
   He turns around in wonder, and what do you think he sees?
   The Georgia Militia — eating goober peas!

   Chorus

   I think my song has lasted almost long enough,
   The subject’s interesting, but rhymes are mighty rough,
   I wish this war was over, when free from rags and fleas,
   We’d kiss our wives and sweethearts and gobble goober peas!

   Chorus

Side Two

1. I’ve Been Workin’ on the Railroad (1:24)

   In the 1800’s, the people who helped to build the nation’s railroad enjoyed singing this song. On May 10, 1859, at Promontory Point, Utah, silver and gold spikes joined the tracks of the Central Pacific and union pacific Railroads to create the first coast-to-coast railway. Sung by robert Michael Jones and Richard Shulberg

   I’ve been workin’ on the railroad, all the livelong day,
   I’ve been workin’ on the railroad, just to pass the time away.
   Can’t you hear the whistle blowing? Rise up so early in the morn,
   Can’t you hear the captain shouting: “Dinah, blow your horn”?

   Dinah, won’t you blow; Dinah, won’t you blow,
   Dinah won’t you blow your horn, your horn?
   Dinah, won’t you blow; Dinah, won’t you blow,
   Dinah won’t you blow your horn?

   Someone’s in the kitchen with Dinah,
   Someone’s in the kitchen, I know.
   Someone’s in the kitchen with Dinah,
   Strummin’ on the old banjo.

   Fee-fie-fiddle-dee-i-o, Fee-fie-fiddle-dee-i-o,
   Fee-fie-fiddle-dee-i-o, Strummin’ on the old banjo.

2. Buffalo Gals (0:48)

   This American favorite has many variants, but first appeared in 1844 as a minstrel tune. It makes the perfect accompaniment for a circle dance, or children might enjoy acting out the verses. Sung by Pete Seeger (American Favorite Ballads, Vol. II FA 2320 used by permission of Folkways Records)

   As I was walking down the street
   Down the street, down the street,
   A pretty little girl I chanced to meet
   And we danced by the light of the moon.

   Chorus:
   Buffalo gal won’t you come out tonight?
   Come out tonight? Come out tonight?
   Buffalo gal won’t you come out tonight?
   And dance by the light of the moon?

   I danced with a gal with a hole in her stocking
   And her heel kept a-knockin’ and her toes kept a-rockin’
   I danced with a gal with a hole in her stocking
   And we danced by the light of the moon.

   Chorus (2 times)

3. Whoopie Ti Yi Yo (1:33)

   Cowboys in the 1880’s enjoyed singing this song. It describes a cattle drive beginning in Texas. There, the “dogies” (originally “motherless calves” but later an affectionate term for any calf) would be “cut out” (divided into groups), and marked for identification. The drive would then take them to grazing land in Wyoming, and later to Idaho to be sold. “Cholla” and “prickly pear” are kinds of cactus. Sung by Cisco Houston (This Land Is My Land FC 7027 used by permission of Folkways Records)

   As I was a-walkin’ one mornin’ for pleasure
   I spied a young cowboy a-ridin’ along.
   Well, his hat was shoved back, and his spurs was a-jinglin’,
   And as he was riding he was singing this song:

   Chorus:
   Whoopie ti yi yo git along little dogies
   It’s your misfortune and none of my own,
   Whoopie ti yi yo git along little dogies
   You know that Wyoming will be your new home.

   Early in the springtime we round up the dogies
   We cut ‘em out, brand ‘em and bob off their tails;
   Round up the horses, load up the chuck wagon,
   Then throw the dogies out on the north trail.

   Chorus

   Your mother was raised way down in Texas
   Where the jimson weed and cholla is grown
   But we’ll fill you up on those prickly pear briars
   Until you are ready for Idaho.

   Chorus

4. The Mocking Bird (1:12)

   This traditional lullaby of the Appalachian regions has been sung by generations of American families. Your children may know it and will enjoy singing along. Sung by Adelaide Van Way (Songs to Grow On, Vol. II: School Days FC 7020 (FP 20) used by permission of Folkways Records)

   Hush, little baby, don’t say a word,
   Mama’s gonna buy you a mocking bird.

   If that mocking bird won’t sing,
   Mama’s gonna buy you a diamond ring.

   If that diamond ring turns brass,
   Mama’s gonna buy you a looking glass.

   If that looking glass gets broke,
   Mama’s gonna buy you a billy-goat.

   If that billy-goat won’t pull,
   Mama’s gonna buy you a cart and bull.

   If that cart and bull turn over,
   Mama’s gonna buy you a dog named Rover.

   If that dog named Rover won’t bark,
   Mama’s gonna buy you a horse and cart.

   If that horse and cart fall down,
   You’ll be the sweetest little girl in town.

5. This Land is Your Land (2:10)

   Written by Woody Guthrie in 1956, this song has rapidly become one of America’s most popular national ballads. This is an original recording by Woody Guthrie. Sung by Woody Guthrie (This Land is Your Land FTS 31001 used by permission of Folkways Records)

   This land is your land, this land is my land,
   From California to the New York island,
   From the redwood forest, to the gulf stream waters,
   This land was made for you and me.

   As I went walking that ribbon of highway,
   I saw above me that endless skyway,
   I saw below me that golden valley,
   This land was made for you and me.

   Chorus:
   This land is your land, this land is my land,
   From California to the New York island,
   From the redwood forest, to the gulf stream waters,
   This land was made for you and me.

   I roamed and I rambled, and I followed my footsteps,
   To the sparkling sands of her diamond deserts,
   All around me a voice was sounding,
   This land was made for you and me.

   Chorus

SCHOLASTIC RECORDS SCC 2745
50 West 44th St., New York, N.Y. 10036

Compiled by Judy Wathen
Manufactured in U.S.A.

Side One

1. Train Sequence (1:37)
2. Chabrier: España (1:25) — excerpt. London Symphony Orchestra conducted by Ataulfo Argenta
3. Tap Dance Sequence (0:54)
4. Under the Bridges of Paris (1:33) Edmundo Ros and His Orchestra
5. Rehearsal Sequence (1:07) Ernest Ansermet
6. Stravinsky: Rite of Spring (1:18) — excerpt. Orchestra of the Suisse Romande conducted by Ernest Ansermet
7. Wagner Die Walküre - Act 3 (1:15) — excerpt. Vienna Philharmonic Orchestra conducted by Georg Solti
8. Racing Cars Sequence (0:53)
9. True Love (3:14) Mantovani and His Orchestra
10. Ceremony of the Keys (4:07)

Side Two

1. Rimsky-Korsakov: Capriccio Espagnol (1:38) — excerpt. London Symphony Orchestra conducted by Ataulfo Argento
2. Gounod: O Divine Redeemer (1:37) Kirsten Flagstad, soprano with The London Philharmonic Orchestra conducted by Sir Adrian Boult
3. Only One of You (2:05) Dave King with Orchestra
4. Another Time (2:03) Vera Lynn with Orchestra
5. June Is Busting Out All Over (1:30) Ted Heath and His Music
6. Mozart: Piano Concerto No. 27 In B Flat Major (K. 595) (1:35) — excerpt. Wilhelm Backhaus, piano with the Vienna Philharmonic Orchestra conducted by Karl Böhm
7. Portrait Painter of Paree (1:13) Winifred Atwell, piano
8. Berlioz: Symphonie Fantastique, Opus 14 (2:59) — excerpt. Paris Conservatoire Orchestra conducted by Ataulfo Argenta

ffrr full frequency range recording… and now…**
**ffss full frequency stereophonic sound

For over 12 years, London’s ffrr has been the world renowned symbol for the finest in high fidelity monaural recording. Today, with the advent of the stereo record, London’s technical knowledge and skill brings forth Full Frequency Stereophonic Sound…identified by ffss…the symbol for the finest in high fidelity stereophonic recording.

This long playing record is a high precision product. We have done our utmost to ensure that it reaches you in perfect condition; compliance with the following suggestions will help to keep it so.

HANDLING
Handle with great care.
Avoid touching the playing surfaces.
Keep away from dust and heat.
Clean the record frequently by gently wiping with a soft damp cloth. Replace the record in this container immediately after use.
Store in an even, moderate temperature.

PLAYING
This record must be played only on stereophonic equipment which includes:
A turntable revolving at 33 1/3 r.p.m. constant speed.
A light-weight pick-up with a stylus weight of not more than 4 grams.
A microgroove stylus .0007 tip radius ± .0001

PS 100
A JOURNEY INTO STEREO SOUND

California Dream Barbie

Living Doll (2:00) by The Beach Boys
Written by Wilson, Morgan, Landy 4439-0300

Producer: Brian Wilson
Executive Producer: Dr. Eugene E. Landy

Mfd. in U.S.A. by
EVA-TONE
SOUNDSHEETS

(P)1987 Brother Records, Inc.
©1987 Beachead Music (ASCAP)
©1987 Beach Bum Music (BMI)

You could WIN $1,000,000 INSTANTLY! Play this record now!

McDonald’s
$1,000,000 MENU SONG (2:02)

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Note: Place coin near record center if record slips.

©1988 McDonald’s Corporation. All Rights Reserved.

Life Cereal Rock Music Mystery 1
One in a series of three great music mystery games.

Rock Music Mystery #1 (2:30)

Play at 33 RPM on any turntable. If record sticks to spindle, enlarge hole slightly or place a coin over the center of the record.

HERE’S HOW TO PLAY:

1. One of three different records in Life Cereal’s Rock Music Mystery Game is in each specially marked box of Life Cereal.
2. Play the record; listen to the music and the clues, then guess the titles to the four (4) Rock’n Roll hit songs.
3. Identify the correct song titles by checking the selection boxes from the choices found on the side-panel of the Life Cereal box. Then mail in your entry for a chance to win!
4. Collect all three records, and enter as often as you like.

Best played on a manual turntable.

©1986 The Quaker Oats Company

TWILIGHT OF STEAM
…the thrilling audio companion to the exciting and controversial deluxe hard cover edition entitled The Twilight of Steam Locomotives by Ron Ziel

Published by GROSSET & DUNLAP, INC.

Recording engineers: Brad Miller and Leo Kulka
Art director / Photography: Ron Ziel
Designer: Marshall Gatewood Moseley

Side Number One

1. Track One (1:57) As we begin our adventure in “The Twilight of Steam Locomotives” the inside front cover beholds the World famous Reader R.R. in southwest Arkansas. This is the last 100% steam powered common-carrier mixed train to operate in the United States and according to Mr. T. W. M. Long, President of the charming shortline, “We’re in the passenger business and having a grand time. You’all come down to see us.” We hear No. 11, a well polished 2-6-2 making her tri-weekly train in the Reader yard. How about that perfectly tuned Nathan Chime whistle, a sound to stir most anyone.

2. Track Two (3:16) On pages 11-13, you will find a recent victim of dieselization, the Virginia Blue Ridge during the last days of steam. This recording has 0-6-0 No. 9, shown in both photos, topping a grade near Piney River, Virginia. Even the song birds seem to sense that the passing of an era is very near indeed.

3. Track Three (1:26) Apparently silenced forever, the last of Southern Pacific’s esthetically pleasing G S series 4-8-4’s is shown on page 65 in retirement. We hear her now during a portion of her “last run” to Reno, Nevada in 1960. This sound was typical Espee with big and beautiful Northern’s that could start an 18 car train and roar by you at 60 mph in nothing flat. Witness same.

4. Track Four (1:11) Until early 1963, the Bevier & Southern in central Missouri had a leased Burlington Mike, No. 4963. On page 96 the 2-8-2 is shown at Bevier. Listen to her walk a string of hoppers “over the top,” past our trackside location.

5. Track Five (1:46) Opposite the 4963, a handsome 2-6-0 No. 97 of the Mobile & Gulf is portrayed quite intentionally, on page 97. Her whistle is possessed of a deep melodic charm as the Mogul awakens the Alabama countryside during an early morning dew near Brownville.

6. Track Six (4:11) Many fascinations of the steam locomotive are evident when viewed emerging from under a bridge. The Kentucky & Tennessee’s No. 10, a husky 2-8-2 is doing just that, partially camouflaged behind her own steam, on page 103. From the same location, we capture the Mike with a capacity load from Mine 16 and unless some miracle happens, the K & T will be dieselized by the time you read this for lack of spare parts and qualified machinists for maintenance.

7. Track Seven (1:22) Upon turning the page, a color portrait of Magma Arizona’s trim No. 7, star of Cinerama’s “How the West Was Won,” presents itself. With the temperature hovering near 105 degrees, the 2-8-2 moves right along near Queens, on the return trip to Superior, Arizona.

8. Track Eight (0:39) One of the very last all steam shortlines east of the Mississippi is none other than the Mississippian, appropriately displayed on page 106-107. No. 77 leaves the house to pick up the caboose in the yard.

9. Track Nine (4:26) A “Carolina Shortline” devotes the entire chapter to the Graham County Railroad, which operates two Shays in the southwestern portion of North Carolina. The indescribable beauty of the No. 1926 with engineer Ed Collins working the whistle cord over, illustrates in sound, that which cannot be done with words or photography. The next time you are in Bear Creek Valley, ask Ed to put on a show for you, just like this one.

Side Number Two

1. Track One (1:14) 0-6-0T No. 13 of the Brooklyn Eastern District Terminal is the star of Chapter 12, pages 116-121. Here she makes her recording debut in the very last days of BEDT steam. Listen to the flange squeel as the side-tanker tows a box car within the shadow of Manhattan skyscrapers!

2. Track Two (2:34) “Last of the Narrow Gauges”—is the story of the Denver and Rio Grande in southwestern Colorado, chapter 14. The photo opposite the color plate shows Mikados No. 484 and 487 at the same time this recording was made on the eastbound assault of Cumbres Pass, from the locomotive tender.

3. Track Three (2:43) However, within this chapter, “Last of the Narrow Gauges” there lies the resurrected ghost of Pennsylvania. Crickets with intermittant gusts of wind rattling the corn stalks herald the approach of 2-8-2 No. 15 of the East Broad Top as her whistle echoes across the Aughwick Valley. Author Ron Ziel exclaims, “This is simply a great sound track!”

4. Track Four (3:27) Sharing fame and fortune with other “Excursion Engines of the ‘60’s” chapter 17, were Reading’s T—1’s. From the very first, No 2124 to the very last, No. 2102, these beautiful Northern’s thrilled hundreds of thousands of people in the population density of east-central Pennsylvania. October, 1963 saw these 4-8-4’s under steam for the last time. We join Trains Magazine in saying “Thank you” to the Reading for a delight that will be unsurpassed for years to come. On an earlier “Iron Horse Ramble” in 1961, No. 2124 has just been cut off and is standing on a siding, saluting No. 2100 as she heads the special towards Valley Forge.

5. Track Five (2:35) Canada’s last excursion engine is the 6167, featured in a two page spread of sub-zero weather. Yes, those pages look mighty cold as the mighty Northern makes mock work of her train in tow as she effortlessly gains speed leaving the yard board at Toronto, Ontario.

6. Track Six (3:11) Just turn the page and you’ll find the “Cozy and Friendly, The Strasburg” puffing through the cemetery. And that’s exactly the sound you are hearing as well. Let us know if any other “ghosts” bother you, that is other than 0-6-0 No. 31.

7. Track Seven (3:19) And turn the page once again to face “The Great Teacher, No. 4960.” My, what an aggressive management that makes available an authentic steam locomotive such as this 2-8-2 for school children excursions and at the bottom of their inter-department transportation notices state “make every effort to handle with fact in mind these children will be future shippers and passengers of the Burlington.” Leave it to the Q, a railroad that is currently making passenger traffic history, to go one step further. Let’s listen as the spunky Mikado walks up the grade from Ottawa, Illinois, enroute to Streator with several hundred happy youngsters. By the way, that bird was a little upset being covered with cinders and such. Shouldn’t happen to a bird.

8. Track Eight (1:55) To close Volume One of “Twilight of Steam” we have selected an unusual track in that this sound story is all but forgotten in the annals of history. Fifty carlengths ahead and around a curve, Buffalo Creek & Gauley 2-8-0 No. 14 puts air into the train and whistles off. Then the slack comes roaring down the river canyon at Dundon and the train leaves for Widen. This is the sound that is so familiar to those crewmen whose home away from home was a caboose. To be continued.

If you are unable to purchase either this record or the hard cover book edition, through your dealer, write directly to: Mobile Fidelity, Burbank, California 91503. Brochure will be sent upon request.

SONIC-SEVEN is the name given to the combination of technical advances and achievements contained in this recording. Under the supervision and development of Leo Kulka, and pioneered in tis use by Brad Miller, engineer/producer for Mobile Fidelity records, SONIC-SEVEN approaches a new spectrum of dynamic sound reproduction.

Special microphone techniques were designed to re-create the peculiarities and acoustical conditions of the terrain. Depending on weather conditions and air temperatures, the following microphones were used, independently: Neumann SM-2 Stereo Condenser; AKG ribbon dynamic D24b; Electro Voice dynamic 666. The Neumann SM-2 used in the Sum and Difference method of stereo recording was matrixed to left-to-right stereo. Original master recording was accomplished on Ampex 350-2 equipment, and the signal then fed to the fully automatic Newmann Master Disc Lathe through a fully transistorized control board without the use of a single transformer or vacuum tube. Frequency response of this board is ± 1 db from 5 to 100,000 cps. Intermodulation and harmonic distortion is virtually non-existant.

With the fully automatic Neumann Lathe, and the Teldec Cutting System with automatic variable pitch and depth control, the complete dynamic range is preserved at all times. Within the Teldec System is incorporated a process which makes this disc compatible for FM stereo Multiplex broadcasting as well as stereo-monaural playback system compatibility for the home. Yes, you may use this disc on ANY Phonograph Player, Stereo or Monaural, without damage to record or needle.

There you have it. The dynamic big picture of SONIC-SEVEN.

“Listen and compare!”

Unless otherwise noted, license is hereby granted to radio and television broadcasters for the programming of contents herein without payment under the United States Copyright Act. Any other use without written permission is strictly prohibited.

Many Mobile Fidelity albums are available on TAPE. For 8-track, cassette, or open reel information, manufactured by GRT, write for complete catalog. It’s free.

MF 13 STEREO THIS DISC MAY BE PLAYED ON MOST MONAURAL SYSTEMS SPECIAL Volume 1

mobile fidelity records
QUALITY STEREOPHONIC RECORDINGS
P.O. BOX 336 + BURBANK, CALIFORNIA

a High Fidelity Recording of Steam Locomotives in Action
Fidelity in Motion
© COPYRIGHT 1963 — ALL RIGHTS RESERVED

SID WILLIAMS, LOUISE GLENNIE, SUSAN TRUDELL, BOB UNDERWOOD, ROB GOOGEL, CHRIS DOWIE, WANDA WILKINSON, BRAD COWAN, GOLDIE SEMPLE

Canada’s Unique Frontier Mining Town
BARKERVILLE, BRITISH COLUMBIA

CANADA’S LONGEST-RUNNING MUSIC HALL

Fran Dowie’s infectious brand of music hall entertainment is delighting the hundreds of thousands of visitors that flock every summer to this restored Cariboo gold rush community of Barkerville, 55 miles east of Quesnel.

The veteran vaudeville showman, known variously as the Barnum of Barkerville and the High-Priest of Nostalgia, has written directed and generally inspired a small troupe of actors in an annual production of what can be most accurately described as “Barkerville-style music hall”

Together with pianst Norman Long, he writes the original music and lyrics for the productions that are drawing a new type of traveller to the narrow valley that once housed more than 10,000 gold-hungry miners.

The artists, some of whom have appeared with Dowie for the past 11 seasons, are on stage “in flesh and blood reality” to sing, dance and entertain generally, in what has come to be known as the longest-running variety show in Canada.

For unsurpassed pleasure, guaranteed to induce intense interest and enthralling enjoyment, Mr. Dowie has imported a constant succession of enthusiastic first-class artists to entertain with dignity and eclat.

There is Mr. Sid Williams, ladies and gentlemen, that wonderful man of 10,000 faces appearing personally in unparalleled attractions of capricious comedy.

Miss Louise Glennie also returns by popular desire with more delightful delineations, in addition to demonstrating her own considerable charms as an effervescent artiste.

For one’s added pleasure, three beautiful damsels of unmatched distinction, Miss Susan Trudell, Miss Goldie Semple, and Miss Wanda Wilkinson, leave no doubt in the mind that they are truly the song birds of the gold fields, as they present their saucy music hall song and operatic arias.

Mr. Bob Underwood demonstrated unique and diversified style in captivating the ladies’ hearts with his lyric tenor voice.

Mr. Robbie Googel also is featured in his latest novelty act.

And much to nobody’s surprise the Great Barstow has returned from a trip to most parts of the civilized world, including New Westminster, with conglomerate yet cohesive competance and craft, carefully contrived to captivate the connoisseur and confound the castigator.

The net result is a delightful revival of the type of entertainment once popular in the former gold capital of B.C.

NATURAL SOUNDS NS 8002
Recorded at Studio 3 Productions Ltd.
Vancouver, Canada

Side One:

1. The Caribou Itch (2:48)
2. Honeysuckle and the Bee (2:38)
3. Take Me To the Station (3:43)
4. Miner’s Dream of Home (2:46)
5. Mosquito Creek Rag (1:21)
6. Blow the Wind Southerly (2:32)
7. Wagon Road North (2:53)

Side Two:

1. Take Your Pick (3:08)
2. On Wings of Song (1:37)
3. Goodbye Boys (2:56)
4. The Mermaid and the Clam (4:03)
5. Dreaming (2:18)
6. Salute to the Saloons (4:39)

(The date (mid-1970’s) on this one is entirely a guess, as there’s no date information at all on the LP. I know it was pre-1980, however, based on its mention in this article dated November 1979.)

“Damn Tooting,” said Lucy, and that was the inspiration for The Best Damn Dance Band in the Land.

As I reflect back on it all now (“it all” meaning the formation of our orchestra: Ira Ironstrings, The Best Damn Dance Band in the Land), it must have been divinely blessed. Things Good like that just don’t happen every day in North Crumble. Not by a long shot.

I think it’s important that the world-at-large know about the day our orchestra was formed…for posterity’s sake, and also because we all get fed up with visiting anthropologists messing up the Good Life here in Macon County with their deep, probing questions. So here goes:

Actually, it was a non-Ironstrings but a fast-friend — Lucy N. Fairweather, our percussionist and Moral Beacon — who inspired us to form our orchestra. that sweet, grey-haired old lady had been passed out in our setting-room rocker for eleven days, just a-rocking and eyeing the bougainvillaea. Came the fateful evening, April 11, 1930. A typical Ironstrings family scene at dusk: the sun falling behind the Ice House, scented breezes wafting in from Kissing Bog, and the whole Ironstrings clan gathered underneath the creeping veranda. Lucy looked up at us Ironstrings, rubbed her antimacassars (which had been ailing of late), smiled benignly, and said, “You Clydes oughta do something about Dance Music. It’s damn well going to the dogs, and tha’s a fact.”

Well sir, we Ironstrings galvanized into action. After flooring the old lady with a feint to the mid-section and a mean right hook, I asked here just what more we could do. Already we had founded a fund to preserve used Andy Kirk 78’s. “Nothing more can be done!” we said, almost to a man. (“Almost,” because Armando Lauderdale had carried the maid, Thelma N. (for Nothing) Edison, off to Kissing Bog and couldn’t be contacted nohow.)

To tell the truth, Lucy was fit to be tied. (In fact, we had to forcibly restrain Polly Paradiddle, who was coming at her with a hunk of hemp and a mean glint in her good eye.) Lucy spoke up just in time. Saluting the colors, she said, “True grey Southerners! Be creative as all get out about the Dance Music Problem!” Taking it as her personal mission, she hailed a passing Red Cross van, clambered up on the hood, and stamped her right foot for attention. “Ira Ironstrings, Friends, and you Crumbums in the ally there,” she spake, still stamping her right foot for attention and also because the sole of her sneaker was flapping some. “I has come up with something, and in sheer reverence to this old grey head and also because I holds the notes on all your instruments, I think that mayhap we oughta form an orchestra! Horray!”

“Horray,” we answered, to a man. (Armando was back now, picking nettles out of his spats.)

“Damn tooting,” said sweet good grey-haired motherly affectionate Lucy.

That did it!

“Tooting!” I cried out. “That’s our answer!”

“The child’s been tetched since the day of the borning,” said Lucy, “and that’s a fact o’ nature.”

“Fellow Red Necks,” addressed I (never dreaming that this was the birth of what would serve in years yet unborn as a true elocutionary gift). “Tooting! Dwell on that word a mo’. Today in music everyone is ‘blowing!’ Every Man Jack of you has been faced with music that’s been blown! Bring back the Toot, say I.”

As if to emphasize my stand, Gutbucket Avakian, the Armenian Red Cross driver, gave his truck horn a whomp with his elbow. Toot, it went. Toot it kept on wenting. Stuck, it was.

“Crazy, pops,” said Thurston, my Portuguese step-sister, running toward the stuck horn, “G Sharp.” Pulling her trusty tuba out of her satchel, she ran off a wicked vamp. Lucy stomped her foot faster. “You fat heads are swingin’ now,” she wheezed.

Frenzy set in.

Maxwell Suggins (tenor washboard and temple bells) had tooted up a heavy four-beat rhythm on his “board.” Tanya Blackberry tooted a joyous cadenza on her three-string Woolworth guaranteed banjo, c. 1907. Reminding us all of a young Teschemacher, Hot Lips Skorstad tooted variations of “A Train” on kazoo, enough to make strong men weep.

I whooped, “Now we’re Tooting, bless our cute little hearts. Now we sound like The Best Bamn Bance Dand in the Land!” (I never could say it fast.)

Hearts full and feet a-flap, our 12 Hot Licks o’ Rhythm kept it up far into the night. As luck would have it, little Samuel F. B. Marconi, boy inventor, warmed up his cactus-needle recorder, the better to preserve all this on wax (as they say in Show Biz). Good thing, too, for you can now hear, at a ridiculously low price, The Best Damn Bance Dand In the Land.

Recorded April 11 and a hunk of April 12, 1930, in North Crumble, Macon County, Georgia, without benefit of clergy.

For your further dancing pleasure, may we suggest:

SORTA-MAY by Billy May, Capitol 562
HAWAIIAN WAR CHANT by Tommy Dorsey, RCA Victor 1234
CHARLESTONS by Ira Ironstrings, Warner Bros. 1297
GLENN MILLER, Epic 3236

Side One:

1. Across the Alley From the Alamo (2:12)
2. The Blacksmith Blues (2:10)
3. The Surrey With the Fringe On Top (2:21)
4. Down By the Station (2:05)
5. Christopher Columbus (2:48)
6. Mountain Greenery (2:43)

Side Two:

1. Jingle Jangle Jingle (2:33)
2. Little Brown Jug (2:26)
3. Jambalaya (2:00)
4. The Huckle-Buck (3:01)
5. I’d’ve Baked A Cake (2:22)
6. Last Night On the Back Porch (2:05)

PRODUCED BY LOU BUSCH

VITAPHONIC HIGH FIDELITY
WARNER BROS. HIGH FIDELITY

MONOPHONIC W 1380

ARTUR BALSAM, Pianist
Winterthur Symphony Orchestra
WALTER GOEHR, Conductor

Side 1
33-1/3 RPM
Micro-groove

Concert Hall
LIMITED EDITION

PIANO CONCERTO IN B-FLAT MAJOR, OP. 19
LUDWIG VAN BETHOVEN

1st Movement: Allegro con brio (12:09)

CH-SPEC-51-BC

LICENSED BY CONCERT HALL SOCIETY INC. NY, USA ONLY FOR NON-COMMERCIAL USE FOR PHONOGRAPHS IN HOMES

LONG PLAYING

ARTUR BALSAM, Pianist
Winterthur Symphony Orchestra
WALTER GOEHR, Conductor

Side 2
33-1/3 RPM
Micro-groove

Concert Hall
LIMITED EDITION

PIANO CONCERTO IN B-FLAT MAJOR, OP. 19
LUDWIG VAN BETHOVEN

2nd Movement: Adagio (9:08)
3rd Movement: Rondo: Allegro (6:03)

CH-SPEC-51-BC

LICENSED BY CONCERT HALL SOCIETY INC. NY, USA ONLY FOR NON-COMMERCIAL USE FOR PHONOGRAPHS IN HOMES

(This was found in the same package as many of the 78s I’ve posted, and was the same physical size, but was obviously a more modern disc: thinner, flexible vinyl, and with a 33 1/3 playback speed rather than 78. I believe this is mid- to late-50’s, but I’m not at all positive.)

TEMPO
Custom Made Records

UR-104582

WHEN DAY IS DONE (2:46)
(De-Sylva-Katcher)
Opposite Side: Cocktails For Two
Featuring The Lightning Fingers Of
BEN LIGHT At The STEINWAY
HERB KERN At The HAMMOND
Lloyd Sloop At The Novachord
And
Gail Laughton’s Harp

TR-608-A

RECORDED BY DIRECT ELECTRONIC PROCESS

TEMPO
Custom Made Records

UR-104581

COCKTAILS FOR TWO (2:47)
(Coslow-Johnston)
Opposite Side: When Day Is Done
Featuring The Lightning Fingers Of
BEN LIGHT At The STEINWAY
HERB KERN At The HAMMOND
Lloyd Sloop At The Novachord
And
Gail Laughton’s Harp

TR-608-B

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)