VOLUME TWO

Recorded, Produced & Annotated by ART ROSENBAUMETHNIC FOLKWAYS RECORDS FE 34162

Fok Visions ~ Voices•

1IBlack frolic Songs, Work Songs ~ Blues
String Band Music, Banjo Tunes ~ Songs

Mabel Cawthorn 01 Carnesville, at Festival of Georgia Folklife, Atlanta, , 983

COVER DESIGN BY RONAlD CLYNE

ETHNIC FOLKWAYS RECORDS FE 34162

Folk Visions ~ Voices
Black Frolic songs, Work Songs '&> Blues
String Band Music, Banjo Tunes'&> SongsVOLUME II, SIDE I
BLACK FROLIC SONGS, WORK SONGS, AND BLUESBand 1 GARFIELD
J.C. "Jake" Staggers, vocal and narration, and banjo.
SALLY ANN
Band 2J.c. "Jake" Staggers, vocal and banjo.
Band 3
OLD JOHN HENRY DIED ON THE MOUNTAINHenry Grady Terrell, vocal.
LONG-LEGGED LULA'S BACK IN TOWNBand 4
Cliff Sheats, vocal and piano.
RAILROAD BILL (Laws 113)
Band 5
Willie Hill, vocal and guitar.
Band 6
GOOD OLD BIRMINGHAM
Willie Hill, vocal and guitar.
LOW-DOWN BLUESBand 7
Neal Pattmen, vocal and (mouth) harp.
MARKET STREET BLUESBand 8
Joe Rakestraw, vocal and guitar.
LEAVIN' HERE, DON'T KNOW WHERE I'M GOIN'
Band 9Joe Rakestraw, vocal and fiddle; Art Rosenbaum, guitar.
VOLUME II, SIDE II
STRING BAND MUSIC, BANJO TUNES AND SONGSBand I
PRETTIEST LITTLE GIRL IN THE COUNTY-O
Gordon Tanner, vocal and fiddle; Smoky Joe Miller,
guitar; Uncle John Patterson, banjo.
Band 2STAGOLEE WAS A BULLY (Laws 115)
Uncle John Patterson, vocal and banjo.
Band 3
SHOOT THAT TURKEY BUZZARDJoe Chancey, vocal and guitar; Chesley Chancey, vocal
and banjo, Ralph Chancey, mandolin.
Band 4
MULBERRY GAP
Chesley Chancey, banjo.
Band 5I WISH I WAS A MOLE IN THF GROUND
Chesley Chancey, vocal and banjo; Joe Chancey, vocal
and guitar; Ralph Chancey, mandolin; Don Chancey, bass
violin; Gene Wiggins and Art Rosenbaum, fiddles.
FIVE HUNDRED MILESBand 6
George Childers, vocal and banjo; Bobby Childers, guitar.
GOIN' DOWN THIS ROAD FEELlN' BAD
Band 7
George Childers, vocal and banjo.
Band 8THE DYING GIRL
Mabel Cawthorn, vocal and banjo.
Band 9DAWSONVILLE JAIL
Ray Knight, vocal and guitar; Ed Teague, banjo,
Art Rosenbaum, fiddle.
Band 10 SALLY GOODIN
Ray Knight, vocal and spoons; Ed Teague, banjo.
Band II FIVE TO MY FIVE
Rev. Howard Finster, vocal and banjo.
Band 12 SOME HAVE FATHERS OVER YONDER
Rev. Howard Finster, vocal and banjo.
Photographs by Margo Newmark Rosenbaum
This record is a companion to FOLK VISIONS AND VOICES:
TRADITIONAL MUSIC AND SONG IN NORTH GEORGIA, Athens:
The University of Georgia Press, 1983.

®© 1984 FOLKW;YS RECORDS & SERVICE CORP
632 BROADWAY. NYC. 10012 NY, USA

Folk Visions ~ Voices

Recorded, Produced & Annotated by ART ROSENBAUM
DESCRIPTIVE NOTES ARE INSIDE POCKETETHNIC FOLKWAYS RECORDS FE 34162

FOLKWAYS RECORDS Album No. FSS 34162©1984 by Folkways Records & Service Corp. , 632 Broadway, NYC, USA 10012
like blues, work songs, and pre-blues frolictunes with white banjo tunes and string bandmusic on Volume II. These two discs, alongwith Down Yonder, will present the powerfuland varied folk music of north Georgia as it
has been carried into the last decades of thetwentieth century. Our appreciation goes tothe talented and dedicated folk musicians of
the area who welcomed us into their homes,
churches, and social gatherings, and whoshared with us, and now with you , the listener, these treasured traditions.

Folk Visions '<Q Voices
TRADITIONAL MUSIC '3;> SONG
IN NORTHERN GEORGIABlack Frolic songs. Work Songs W Blues
String Band Music. Banjo Tunes 'do? Songs
Recorded, Produced & Annotated by ART ROSENBAUM• Cherry Log
eEllijay

VOLUME II, SIDE I

eSuches

BLACK FROLIC SOOGS, WORK SONGS,
AND BLUES
Jasper.

SIDE I. Band 1

Tatc.

GARFIELD

Sung and narrated by J . e. "Jake"
Staggers with 5-string banjo; Toccoa, Stephens County, July 25, 1981.

NORTH GEORGIA
Dacula .

• ATLANTA• Carrollton

mTROOUCTlOO

North Georgia runs from the Tallulah
Gorge and Chattooga River country on theSouth Carolina border across the Blue Ridge
Mountians south of the North Carolina line,
over to the long ridges of Lookout Mountainangling up toward Tennessee, then down throughthe piney woods and textile mill towns of
the Piedmont into the northern edge of theold cotton belt plantation country extending
east and west from Atlanta . In this arearural people of English and African descentand mountain folk of Scotch-Irish and German
stock have nurtured and developed a variety
of folk music styles, emblematic of Southern
traditions and lfell-springs of later Americanmusical forms. Some, like the spirited Piedmont fiddle band music and the raggy Piedmont
blues, are distinctive styles that became
popular beyond the region through early "hillbilly" and "race lt corrmercial records in thetwenties and thirties . Other traditions,like unaccompanied mountain ballad singing,banjo breakdowns and songs, black early spirituals and their secular counterparts in frolic
and work songs, are more widespread throughthe South, though Georgians give them a distinctive flavor.
We have been seeking out and recording
performers of these older styles since 1977
and have found singers and musicians withretentive memories and authentic and authoritative performing styles. They learned theirmusic at a time when family, church, and neighborhood were the chief sources of musican ex pression and entertainment, just before ordur; i ng the time when radio and recordings
were beginning to draw upon, proliferate,
and transform these local traditions. Of
the many hundreds of musical examples werecorded, over eighty were published in our
book Folk Visions and Voices: Traditional
Music and Song in North Georgia (field col-lecting, text, drawings and paintings by
Art Rosenbaum; photographs by margo Newmark
Rosenbaum; musical transcriptions by Bela
Foltin, Jr . ; foreword by Pete See ger. Athens:
University of Georgia Press, 1983.) This
work emphasizes the lives and experiences ofthe most interesting informants we recorded
and interviewed and presents drawings,
paintings, and photographs from the exhibition which was the initial mode of presenting the material.
The present two-volume LP anthology
draws all its material from the book. In
most cases the example on the record was
also the source for the text and tune transcription in the book, although in some cases
an alternate take was used; and in a few instances pieces were re-recorded expressly
for these records when a better performance
was des ired. The recordings were made on a
Pioneer RT-lOSO stereo deck in homes andchurches across north Georgia, and the informality of the Situations , heard at times
through laughter, incidental CO!Tlll8nts, background noises, should contribute to rather
than detract from the spirit and persuasiveness of the performances . These records canserve as companions to the book Folk Visions
and Voices , along with our other Folkways LP,~r--Old Time String Band Music
from Georgia. with Gordon Tanner! Smoky
Joe Miller and Uncle John Patterson (FTS
31089), which includes much of the musicalmaterial from the chapter on Gordon Tannerand his family and friends who have carriedon the tradition of Gordon's father, Gid,and his famous Skillet Lickers string band.
Through their long history Afro-Americanand Anglo-American, and sacred and secularfolk music traditions have coexisted anda t times influenced each other in northGeorgia. In this spirit we have paired
the older white mountain ballad and lyric
song traditions with black religious singing on Volume I; and black tlworldly" music

Jake Staggers is the only black banjopicker we have recorded in Georgia. He
was born in 1899 in Oconee County, South
Carolina, though he has spent the last
fifty years across the Tugaloo River in
Toccoa, Georgia. At ten he began to learn
the banjo from his older brother, Hansell,a friend named Jesse Godine, and Garnett
Spencer, a white man. He acquired a richrepertoire of railroad songs, pre-blues
f rolic pieces, and spirituals, an d a solid
drop-thumb frailin g style on the banjothat made him a sought-after musician forblack and white dances, and gathering s where
IIblack and white get on the flo' at one
time and dance . II He is prou d that in thosedays he IIcou ldn' t be beat'", and even in
the 1980's his playing and singing vividly
exemplifies the black contribution of theAfrican-derived banjo and the songs associated with with, to American music. Thissong is a cante-fable, or spoken narrativeinterspersed with sung elements; Jake learned
it from his brother, Hansell, who learned
it as a railroad worker. The white North
Carolina collector-performer Bascom Lamar
Lunsford sang and recited this piece, also
to banjo accompaniment (Library of Cong ress

1

Jake Staggers, Toccoa, 1981.

recording AFS L29, Songs and Ballads ofAmerican History and the Assassination of
Presidents); Lunsford's version associates
the story with President Garfield's assassination by Charles Guiteau , seen as asmall-town street attack. The sung melodies
in Staggers's and Lunsford's versions are
similar, and point to a black origin of
the piece. For a related fragment, seeliMy Frien' Gartiel'" in. Mellinger Edward
Henry, Folk-Songs from the Southern High~, New York:
J.J. Augustin, 1938,
p. 439. Staggers's version varies considerably from performance to performance;
see his April 18, 1981 performance inFolk Visions and Voices, pp . 80-81.
He incorporates into the present recording a fragment of a favorite spiritualof his, ''How Long the Train Been Gone?"(FVV, pp. 84-85) ,Sung:
Oh Gartiel', kill a man, kill aman , kill a man.

Spoken:Little Garfiel' smokin' one hundred
dollar cigar, y'know, Big Garfiel'
smokin' two hundred dollar cigar, went
down the road one moruin', y I know,
soon. Little Garfiel' went to walk in 'down the road, an' Big Garfiel' g ot up
this morn in " knocked at the do', his
wi f e gettin' breakfas'. Goin' down theroad a little further, met Little Garfiel'. Big Garfiel' tal' Little Garfiel', says, my cigar smokes better 'nyours. Little Garfiel' tal' him, no,no. Big Garfiel' turn aroun' to Little
Garfiel', an' shot him.
Sung :
Shot him in the side, shot him in theside.
Spoken:Big Garfiel' turned around to his Wife,y 'know,
Sung :
Don' let my lovin' wi f e know, don't
let my lovin' wi f e know, Lord,
Don' let my lovin' wof e know.

Cit Garfiel', oh, Gar fie l' , kill a man .

Spoken:Turned around an ' said :Sung :How l ong the train been gone?
How long the train been gone?
How long the train been gone?
Spoken:Big Garfiel' turned aroun I to hiswife and said:
Sung:Oh, mamma, oh, Lordy met
Oh, mamma, what I ' m gonna do?
Big Garfiel'--2.

Down the road, darl in', down theroad (four t'imes).

3.

Sift the meal and save the bran,(three times)
Goi ' to the weddin' with Sally Ann.

4.

I ' m gonna marry Sally Ann

5.

Repeat 4.

6.

Repeat 3.

7.

Sal got a meatskin laid away,(three times)
Grease John I s wooden leg every day.

(four times).

lithe day go faster, II make the picking"go easier and get more willingness . "He added that they had another function,to "fool the man, II that is, make theboss accept the measured cadence of thework done to singing, and not try toforce the workers to go fas ter, as hewould have had t hey not been singing.
He also would spin the blades of thepick above his head btttween strokes toentertain the captain and take time foranother breath. Henry Terrell could notsing this properly without a pick in hand,
and recorded this in Doc Barnes I s backyard, to the accompaniment of the pickand Doc's excited dog. See FVV, pp.
122-23.
1.

Spoken:Walked off, looked back, an' say:

S IDE I Band 3
THE MOUNTAIN

Sung:
Ah, you better come an' go with me,
Better come an' go with me,
Ah, better come ani go with me.

Sung by Henry Grady Terrell;
Clarke County, July 3, 1981.

Killed a man, shot lim in the side,
shot lim in the side .
Oh, mamma, what I'm gonna do?
Oh, mamma, what I ' m gonna do?

SIDE 1. Band 2

SALLY ANN

Sung by J.C. "Jake" Staggers with
5 - string banjo; Toccoa, Stephens County,
July 25, 1981.
Though this song is clearly of black origin, it has in large par t moved into thewhite repertoire, where it is performed
as a banjo piece in the old-time and blueg rass modes, and as a fiddle or s tringband piece. The only recent black performance is that of Lacey Phillips of
Caldwell County, North Carolina, whoplays it drop-thumb style on banjo , without singing (Physical Records 12 - 001).
White performances are numerous, a few
being Wade Ward (Virginia, Folkways FA2363); TOfl!llY Jarrell (Virginia, County
LP 748) j Junie Scruggs (North Carolina,
Fol kways FA 2314), a prototype of thewell-known Earl Scruggs banjo instrumental
version). We have recorded versions in
Georgia from Lawrence Eller, Ray Knight,
and W. Guy Bruce. For a transcriptionof this performance, see FVV, p. 82.
1.

I got a sugar foot down the road,(four times).

OLD JOHN HENRY DIED ON

Athens,Henry Terrell, or " Big Boy" as he isaffectionately called by Doc Barnes,
with whom he has sung gospel music foryears, has dedicated his talent and hisrich baritone voice to the service of
his faith. He sings in three church choirs,
and readers of Folk Visions and Voices
know him as Mr. HGT , as he preferred not
to attach his name to the "other kindof singing" 'he had done 'When he was cutting
highways as a teenager in the thirties withpick and shovel, "way back when you were-beatin ' a dog with a ' sirmnon treel The
world was on fire, then. They put thatfire out, on them jobsl" He is one of
the few singers of the old work songs wehave heard in Georgia, and by far thebest; we are pleased that he overcame
his reservations about performing themby demonstrating them with pick-ax inAtlanta's Piedmont Park at the 1983
Georgia Folklife Festival; and by using
his name here. The present song waslearned from an older man who had beenon the chain gang , and describes a man
who was Iiscoutin"', or escaping, fromthe gang. I t is part of a family ofwork songs that refer to the work-hero
John Henry. but are distinct fron; theJohn Henry ballad (See Guy B. Johnson,
John Henry: Tracking Down a Negro
Legend . Chapel Hill: University ofNorth Carolina Press, 1929 . pp . 71~83;
Louis W. Chappell, John Henry: A FolkLore Study. Port Washington, N.Y.: Nennikat Pres s, 1933, pp. 97-103). For
Neal Pattman ' s version of the ballad,see FW, pp. 188-89. Henry Terrell explained that songs like this would make

2.

3.

4.

5.

[I'm gonna ringwhahl this01 ' hannner
whah I
I'm gonna ringwhah 1 this all
hammerwhabl
And then go homewhah I oh,
pardnerwhah 1
whahtJ
And then go home

01 ' John Henrythe mountain
01 ' John Henrythe mountainHe was a-whuppin'
oh, pardner
He was a-whuppin I

whaht
died onwhahl
whahl
died on
whah!
steel
whahl
whahl
steel
whah!

Ain' gonna tell nobody
whah! myright name.
whah!
Gonna tell nobody
whah I myright namewhah!
My name is Sam
whah I and I don'g ive a umb
whah!
Oh , pardner
whahl
and I don I
give a --whah!
whah! was I
Anybody ask you
runnin'whah!
Anybody ask you
whahl was I
wbah!
runnin'Now tell ' em nowhahltell 'em
whahl
I's flyin'
whah!
Oh, pardner
tell 'emwbah!
I's fly in 'I run 'cross thewhah I Blue Ridge
Mountainwhah!
I run 'cross the whah! Blue
Ridge Mountain whah!
IN when the sun went down
whahl
oh, captainwhahl
IN when the sun went down
whah!

S IDE I Band 4
IN TCMN

LONG-LEGGED LUIA I S BACK

Sung by Cliff Sheats with piano, Athens,
Clarke County , September 23, 1979.

Doug Quimby and Henry Grady Terrell demonstrating work songs, Festival of Georgia Fo1klife, 1983.

Cliff Sheats, a construction worker, has
lived all his life in and around Athens,
and is proud of hsving helped build manyof the buildings on the University ofGeorgia campus there. He says his startin music came when he learned "Diddle,
Diddle, Dumpling" on the piano at the ageof five, and subsequently he learned anumber of blues, popular songs, and spirituals . He would play at house parties andat Charlie Williams's barbeque restaurant,
often with his brother. the late Fred Sheats,
who was l ocally famous for his dogs that would
dance to his blues guitar picking on Broad
Street in Athens. Cliff is passing his musicalability on to his children : his daughter, Judy,is in her twenties a fine blues pianist . Clifflearned this piece, derived from the popularsong "Lulu's Back in Town", f rom his brother;as he says, ,II go t a little taste of it, I
kepi on till I added a little mo l to it.11
FVV, p. 193.

Oh Lula, oh Lula,
III Lu l a, oh Lula,
You know, long-legged Lula thought she'sback in town.
Oh Lula had a fallin' out,
It was all about another man's wife,
Oh, lula, Lula,
Lula, my baby's back in town.
Ch Lula, Lula, tel l me, Lula,
Please tell me Lula, where you
stayed l ast night.
One leg up, one leg down,
One leg almost touchin' the ground,
I'm talkin' about Lula,
I'm talkin ' about you, Lul a,
You know, where you stayed last night .
Tell me Lula, tell me Lula,
Tell me, Lula, honey where you stayed
last night .
Shake it east, shake it wes',
When I saw Lula, you shake it bes I,(h. Lula, oh Lula,
Tell me, pretty Lula, where you
stayed las' night.
Oh Lula, Lula, nice and clean,
But 01 ' Lula was pretty mean,
Oh lula, oh Lula,
Now tell me, oh Lu l a, ohl
She could shake it eas', shake it wes',
Down South, Lula shake it bes',
Oh Lula, you know Lula ,You know, Lula was a sweet 01' thing .
00000, ooooh. please tell me, Lula,
where you stayed las' night.
Me 'n Lula had a fallin ' out, allabout another man's wife,
Ch Lula, oh Lula, ust tell me, Lula,
where you stayed las ' night.
SIDE I Band 5
RAILRCk\D BILL <Laws Il3)
Sung by Willie Hill with guitar; Athens,
Clarke County, December 8, 1978 .
Willie Hill, in his late seventies when
he recorded thiS, was born near Maxeys in
Oglethorpe County, where he learned guitar
starting at 14 from his cousin, John RobertEverhart. He would play for country frolics
at homes or a sawmill that would at times
last all night. After moving into Athensin 1934 he continued p l aying with local
musicians like George and Minor Lumpkin,
who played at a place called the
Rabbit Eye on the Atlanta Highway.
Willie learned b lues from recordings
by Piedmont artists like Buddy Moss andBlind Boy Fuller, though he said he would"listen at a record, play it E!Y. way. II
He learned "Railroad Bill'l from the older
local tradition, and his fine performance,with its halting melodic line, is an important contribution to recorded versionsof this blues ballad, to use D.K. Wilgus's
term , despite its abbreviated text. The
song was based on the exploits of a black
train robber, Morris Slater, alias Railroad
Bill, who eluded southern lawmen for several
years before he was finally killed ,in Alabama in 1897. See Norm Cohen, Long Steel
Rail: the Railroad in American Folk Song,Urbana: University of Illinois Press, 1981,
pp. 122-31, for a discussion of the songand the man, including early reports that
he had supernatural powers . Georgians
Gid Tanner and Riley Puckett made the first
conmercial recording of the song in 1924.
Hobart Smith I s influential fin ger-picking
performance can be heard on Asch AA4.
See also G. Malcomb Laws, Native American
Balladry, Philadelphia: American Folklore

Society, 1950, p. 252; and John W. Work,
American Negro Songs, New York" Howell,
Soskin, 1940, p. 240. FVV, pp 194~95.

1.

2.

Railroad Bill, oughtta been killed,
He never worked, an' he never will,
Ridin' after Railroad Bill.
You better let 01' Railroad Bill
alone,
You better let 01' Railroad Bill
alone.
Wen' up on the mountain, didn't know
my route,
Put me in the coffee pot and blow me
out the spout,
Ridin' after Railroad Bill.

of his faith, and we appreciative that heconsented to our including here an exampleof the music he was known for before his
conversion. Neal was born in Madison County
and was g iven his first harp by his father,dressed as Santa Claus one Christmas. He
g ot some pointers from a man named Oliver
Holt and his cousin, Eddie Carew, and learned
traditional pieces like "John Henry", "LostJohn", and eventually added to his repertoire
more recent urbanized blues. He lostan arm in a boyhood accident, but his
mouth and one good hand can bend the notesof the harp is well as any player; Neal's
skill rivals that of his idol, Blind Son~
ny Terry. "Low-Down Blues" is in the early
two-line f ormat.

Cliff Sheats and family , Athens, 1983.
S IDE I, Band 6 GOCO OLD BIRMINGHAM
Sung by Willie Hill with guitar; Athens,
Clarke County, December 8, 1978 .
This is an early blues with railroad
imagery, sung to knife or bottleneckslide style guitar accompaniment . FVV,
pp. 198-99.

1.

Well, I tell all you workin' men,please take this advice from me;
Save yo' money, buy you some g ood clothes,
let these crooked women go .

I went to the depot, I looked up on'
the bold ,(three times)
It's good times here but it wa s betterway up the road.

2.

Yeah, they'll meet you at the beer
garden, they will drink up yo' last
dime,
Say a thing about it, ''Whoa, boy,
I'll see you another time."

2.

Asked the depot agent, What train mustr!:e!iff!~~~~:, t~:~ so you're

Mak!S
satisfied.

I'm gain' back to Florida where it'swarm,
(three times)
And lay there on the green g rass andlook up at the sun.

SIDE I Band 7
LCM-D&N BLUES
Sung by Neal Pattman with mouth harp,
Winterville, Clarke County, December

Went to the gipsy to get my fortune
toll ,
Low-down g ipsy stole my jelly roll.

Refrain:lain' gonna walk on Market Street
no more,'Cause Market Street made my feet

My baby blowed me awy this mornin',

here, I didn't have nowhere to go.
I jus' s toad on the road and cried;
Baby I didn't have no blues, baby,
I jus' couldn't be satisfied.
4.

Yeah, you know it's a lonesome feeling,when you by yourself;
Sometime, make you have fun feelin',y'all know what I'm talkin' about .

5.

Say, I'm g oin' to my baby's housejus' one more time,
This is what I'm gonna tell her:"If I can't sleep on yo' bed, mamma,
please let me sleep on yo' floor.
If I don' treat you no better, mamma,
you can call me a dirty man."

6.

Babe, you got to have yo' dollar,
I'm talkin' 'bout a dollar bill;
Say, you know I1lY.. money comin', baby,
Oh, it ain' gonna be no yell.

30, 1977.
Until 1983 Neal Pattman had been a highly
visb1e blues musician around Athens andbeyond: he played locally solo and withblues and rock bands, and at folk festivals like the Georgia Grassroots Festival
and the Georgia Folklife Festival in Atlanta, and the 1980 Smithsonian Festivalof American Folklife in Washington, D.C.
But after forty years of playing secular
music he was "baptized, got sanctified
with the Holy Ghost at the Healing Temple
Church . II Thereafter he has used his voiceand talent on the mouth harp in the service

Joe Rakestraw, a carpenter and resident of
the Allenville section of Athens, was bornin 1910 in the Jackson County CO!illIlunity ofArcade. His father was a schoolteacher
and worked his own cotton farm, inheritedfrom his slave-born father who had bought
the farm and his freedom with his earnings
as a bootmaker . Before World War I, Joe's
older half-brothers played fiddle, bass violin,
and guitar in a family string band that wasmuch in demand at white as well as black
dances in the area. After the older brothers
returned from the war and moved north, Joeand his other "set" of brothers picked up
the instruments and music from "memory ...
all the instruction we had. II Joe learned
fiddle and guitar, and an assortment of earlyblues, ragtime tunes, old-time dance pieces,and blues ballads . His repertoire is oneof family and locality and he never listenedmuch to records:"I learned mos tly from
1istenin' to the people--what the people
was singin' is what I learned." When we met
him in 1978 he had not played since his
return from World War II, but recently hehas enjoyed practicing his store of old
songs. Joe heard his older brother, Anderson, play "Market Street Blues" onguitar before World War I, and he learnedi t for himself in the 1920s. He a g reesthat the street referred to is probably
Rampart Street in New Orleans. See FVV,
p. 204, for Rakestraw's May 7, 1983 performance .

Spoken:Done g ot y' money and gone, that's
what they'll do you.
3.

3.

Now when I have plenty money, baby,
I have plenty friends,
Now my mone y gone, baby,
whoa, I'm standin' all alone.

SIDE I Band 8
MARKET STREET BLUES
Sung by Joe Rakestraw with guitar; Athens,
Clarke County, September 20, 1983.

1.
Spoken:This g onna be low-down blues, cut deep,
way late in the wee, wee hour of thenight--you know what I'm talkin' about.

Refrain :I'm goin' back to good 01' Birmingham.

1.

7.

Willie Hill, Athens, 1979.

2.

Sittin' here worryin', a bucket won'hol' my tears,
Sittin here worry in , , a bucket won'hal' my tears,
Market Street, made my feet so sore.

3.

Repeat 1.

~ Band 9
WHERE I'M GOIN'LEAVIN' HERE

DON'T KNOO

Sung by Joe Rakestraw with fiddle, guitar
by Art Rosenbaum; Athens, Clarke County,
September 20, 1983.
Joe's older brothers played this song before World War I, but he feels it expressed
their situation when they left for the Northin the 1920s: "The biggest time of emig rating
was from ' 21 till '30. People was just losin'
out. Cotton was king, but it didn't last."
The boll weevil hit, and "when people was accustomed to making twenty bales a year, may~
be it cut 'em down to five and six, and the
man they was rentin' from .c ouldn' t pay 'em
anything, they was catchin' the train, or
walkin', 1eavin' any way they could." Thissong is an earlier form of "Goin' Down the
Road Feelin' Bad" (See Georg e Childers's
version, Side II, Band 7) and is related
to Samantha Bumgarner's "Georgia Blues" and"Worried Blues," Riley Puckett's "Kansas
City Railroad," and the Memphis Jug Band t s"K. C. Moan;" it is however a distinct
and excellent song. See Cohen's Long Steel
Rail, op. cit ., pp. 406-12, for a discussionof this g roup of songs. See FVV, p. 202,f or another Rakes traw performance.
1.

Leavin' here, don't know where I'm going,
Lord I'm leavin' here, don't know where
I'm going,
Leaving here, don't know where I'm going.

2.

Went to the depot, looked up on the bold,
I went to the depot, looked up on thebold,
Said, good times here, better on down
the road.

3.

Repeat 1

4.

Water 'round here tastes like turpentine,
Water 'round here tastes like turpentine,
Gain' where it tastes like cherry wine.

5.

Repeat 1

6.

Salt Lake City is not salted dawn,
Ob, Salt Lake City is not salted down,
B'lieve to my soul that is where I'm bound.

VOLUME II. SIDE II
STRING BAND MUS IC, BANJO TUNES AND SONGSS IDE II. Band 1
THE COONTY-O

PRETTIEST LITTLE GIRL IN

Sung by Gordon Tanner with fiddle, Smoky
Joe Miller, guitar, and Uncle John Patterson, 5-string banjo; Dacula, Gwinnett
County, October 13, 1979.
This piece was recorded at a session of
three ve terans of Georgia's grea t age ofstring band music which was presented more
extensively on Folkways FTS 31089, Down Yonder; background and biographies of the performers are included in the notes to thatrecord and in FVV. Gordon Tanner born in
1916, played lead fiddle at the age of
17 at the final recording session for RCAof his father's group, Gid Tanner's Skillet
Lickers; "Down Yonder" and "Back Up andPush" were two of the tunes which owe theircontinuing popularity to that session.
Gordon worked as a foreman in a shoe factory and played part-time until his deathin 1982. He was a warm and generous man
and a fine singer and fiddler; his son,Phil, and grandson, Russ, are keeping the
exuberant fiddle-band music going. Smoky
Joe Miller, who played with all the Tanners
over the years, learned guitar from Arthur
Tanner, Gid' s brother, and from Riley Puckett, the famous blind guitar-picker ofthe original Skillet Lickers. He is aretired textile worker and is an ordained
minis ter, he continues to perform earlycountry and sentimental songs as wellas gospel numbers, in the guitar-mandolin
and harmony singing style of the 1930s:
some of his work in this vein can beheard on Folkways FTS 31093, Smoky Joe
Miller and His Georgia Pals! Newman
Young and Lawrence Humphries. Sing
Old American Heart Throbs. Uncle
John Patterson was born around 1910
in Carroll County and died in 1980.
He was a sharecropper and later anaircraft engineer at Lockheed and as ta te legisla tor. His unique oldtime finger-style banjo picking first
won him a championship in AtlaI1lt:a at
14 when he beat Fiddlin' John Carson's
daughter, Rosa Lee, later to be known
as Moonshine Kate; it is well documented
on his banjo LP, Plains Georgia Rock,
Arhoolie 5018. Another performance of
this tune, related to ''What're We Gonna
Do with the Baby-o" is transcribed in
FVV, p. Ill.
Prettiest little gal in the county-o,
Mamma In' papa both said so.
I can get her if I want her,
I can get her if I want her.

SIDE II Band 2
STAGOLEE WAS A BULLY (Laws IlS)
Sung by Uncle John Patterson wi th S-string
banjo, James Patterson, guitar; Carrollton ,Carroll County, March 25, 1978.
Uncle John learned this song from his motherBessie Patterson, a champion banjo player.
He had not thought of it in thirty-fiveyears when he played it for us. He tuned
his banjo in D (f#DF#AD), a tuning corres-

ponding to the open gu i tar "Sevas topol"
tuning; a transcription, with banjo tablature, is in FVV, pp. 104-05. Fuller versions of this song of black origin tell thestory of Stagolee killing Billy Lyons overa John B. Stetson hat. The white West Virginia recording artist Frank Hutchison recorded it in 1927 (reissue, Folkways FA2951). and black guitarists Mississippi
John Hurt and Furry Lewis also recorded
it in the late 1920s. See Laws, op. cit.,p. 240; Howard W. Odum and Guy B. Johnson,
The Negro and His Songs, Reprint Folklore
Associates, Hatboro, Pennsylvania, 1963,
p. 197, for a Georgia version; Roger Abrahams, Deep Down in the Jungle, Ha tboro, Pa.:
Folklore ASSOCiates, 1964, pp. 123-36, gives
an extensive discussion of the black "bully"or Stagolee character, and several versionsof the ribald toast, or rhymed narrative,celebrating his exploits-.
1.

Stagolee was a bully, and old Bull
Lyons was, too;
Stagolee shot Bull Lyons, and shot
him through and through.

2.

People I round the White House wrung
their hands and cried
When they got the message that old
Bull Lyons had died.

Old he cackle and the chickens flew,
Rooster swore that he' d go, too.
Shoot that turkey buzzard, shootthat turkey buzzard,
Shoot that turkey buzzard, flyin'around the moun tain.

S IDE I I Band 4
MULBERRY GAP
Played by Chesley Chancey on 5-string
banjo, Boardtown Corrnnunity, Cherry Log,
Gilmer County. October 22, 1978.
Chesley Chancey told us that a "fives tring banjo is the only ins trument you
can entertain a crowd with by yourself ...
People will g et bored with a fiddle, but
you can take a banjer, you can dance withit, play it, you can sing with it, and you
can switch right ov e r into sacred music,
and still you're in line." There were manybanjo pickers in his district when Chesley
was growing up, the most famous being Land
Norris, who won the banjo championship ofGeorgia, and began making records for Okeh
in the twenties; however Chesley "never
did try to foller his style none." Rather,he picked up his style first from "Little"
Bob Holloway, then Bob Watkins, then Felton
Looper, finally refining his style on his
own. He had a keen sense of melody andcould pick out fiddle tunes in a two- orthre e-f inger technique. ''Mulberry Gap"
is Chesley's banjO setting of a fiddle
tune he learned from his uncle, F'iddlin'
Ira Sisson and is played in one of theold-time mountain tunins. fCFCD (or,transposed, gDGDE), called the "Last
Chance" tuning by the late Hobart Smithof Saltville, Virginia. See transcription
with banjo tablature, FVV, p. 171.
SIDE II

Band 5I WISH I WAS A MillE TN~
Sung by Chesley Chancey with 5-string banjo;
tenor vocal by Joe Chancey with guitar;mandolin by Ralph Chancey; bass violin by
Don Chancey; fiddles by Gene Wiggins and
Art Rosenbaum. Boardtown CormlUnity, CherryLog, Gilmer County, October 22, 1978.

Neal Pattman at Georgia Grassroots Festival,
Atlanta, 1977.
SIDE I I Band 3
SHam THAT TURKEY
BUZZARD
Sung by Joe Chancey with guitar, and Chesley
Chancey with 5-string banjo; mandolin by Ralph
Chancey. Boardtown Community, Cherry Log,
Gilmer County; November 11, 1978 .
The Chancey Brothers grew up in the Boardtown
section of mountainous Gilmer County, nearother locations colorfully named Hell's Holler,
the Devil' s Den, and Figh tin' Town. As they
have told it, their younger days were spent
in making, selling, and drinking a better gradeof moonshine whiskey; and playing the finemountain music of their part of the Blue Ridge.
Before Chesley's death in 1980 they were bringing their music to events like the Georgia
Grassroets Festival in Atlanta; more recently
his brothers Joe and Ralph and nephew Don havebeen playing the old tunes and bluegrass pieces
at a local restaurant. This tune seems tohave been well-known in the north Georgia mountains.
See FVV, pp. 168-69 for transcription
with banjo tablature.
Shoot 01' Davy Dugger, shoot 01' Davy Dugger.
Shoot 01' Davy Dugger, catch his wife andhug 'er.
Shoot tha t turkey buzzard fly in I aroundthe mountain.

This song was recorded in the twenties by
North Carolinian Bascom Lamar Lunsford (reissue on Folkways LP FA 2040 .) Lunsford,
in Thirty and One Folksongs from the Southern Mountains. New York: Carl Fischer, 1929,

pp . 10-11, wrote that th is is "a fine typeof indigenous American banjo song extant
in the Great Smoky and Blue Ridge Mountainr egion ... and has numerous unrelated stanzasb orn out of the hilarity of mountainbanjO picking." The Chancey's fine version with two-part harmony. is more regular in rhythm than Lunsford's. See also
Brown, Nor th Carolina Folklore, Durham,
N. C.: Duke University Press, 1952, Vol.
II, p. 215. FVV, p. 167.
1.

Lord I wish I was a mole in the ground,
Lord I wish I was a mole in t he ground;A mole in the ground, turn this wide
world around,
Lord I wish I was a mole in the ground.

2.

Lord I wish I was a lizard in thespring,Lord I wish I was a lizard in thespring,'F I's a lizard in the spring, I could
hear my darlin' Sing,
Lord I wish I was a lizard in thespring.

3.

I'll take you to your mamma next
payday,I'll take you to your manuna next
payday,I'll take you to the door and I'll
kis s you no more,
I'll take you to your mBrmla next
payday.

4.

Re peat 1

S IDE II Band 6
FIVE HUNDRED MILES
Sung by George Childers with S-string
banjO, guitar by Bobby Childers; Jerusalem
Section, Jasper, Pickens County, August23, 1980 .
Though his father, Dave Childers. was"A-number _oneil as a banjo picker, George
Childers had to learn on his own; hisfather never showed him "one thing in theworld." George learned f irst on a lardtub instrument, then a better instrument
he got from a preacher's wife for picking
three gallons of blackberries for her.
Shortly thereafter he was playing forsquare dances in a family string band, andas a teenager beat Tom Cat Payne in a banjo contest in Tennessee. Though he played
at times with old-time greats like Gid Tanner , ClaYFon McMichen, and Riley Puckett,played professionally only sporatically.
working as a sawmill hand . Before his
death in 1983 he had been teaching his
two-finger banjo style to his son, Bobby,
who here accompanies him on guitar. Thissong, in its many forms, has enjoyed widecurrency in Georgia. We have recorded
it as "Seventy-Four" from Jake Staggers,and "Count the Days I'm Gone" from th e Eller Brothers and Ross Brown (issued Flyright LP 546), as "11le Train Song" by W.
Guy Bruce, and "Ruben" by Mabel Cawthorn.
It was first recorded commercially by aGeorgian, Fiddlin' John Carson, in 1924
(Okeh 40196, reissued on Rounder 1002),
and later by Riley Puckett in 1930 (Paramount 3237). Hedy West learned "Five Hundred Miles" in north Georgia (see herrecording, Vanguard 9124) and taugh t i t
to Pete r, Paul and Mary who popularized it
nationwide. For a complete discussion,
bibliography and discography, see Cohen,
op. cit., pp. 503 -17 . Childers called
this song "Railroad Bill" at times. See
FVV, p. 173.

1.

I'm one, now I'm two, and I'm three,Lord, I'm four
I'm five hundred miles from home .

2.

I f this old train runs right, I'll

be home tomorrow night,
I'll sidetrack my engine and go
home.
3.

Repeat 1

4.

My shoes they are worn and my clothes
they are torn,
I can't see my mamma this away .

5.

Got on the track, hear the rails a-crack,
Hear the whistle blow a hundred miles.

6.

Repeat 1

7.

Poor gal's on that track, and I hear
the rails c rack,
I hear the whistle blow a hundred 'miles.

8.

I f this o ld train runs right I'll behome by Saturday night,
I Ills ide track my engine and go home.

S IDE II Band 7
FEELIN' BAD

GOIN' DGlN THIS RG\D

Sung by George Childers with 5-string banjo,
Jerusalem Section, Jasper, Pickens_County,
June 23, 1980.

A somewhat later and much more widely-known
cousin of Joe Rakestraw's IlLeavin' Here,Don't Know Where I'm Gain''', this song isalmost universally sung by southern folk Singers,
black and white. George said he heard it as achild. The fourth verse here evokes the black
origins of the song. See Folkways FTS 31089
for a performance by Gordon Tanner, Smoky Joe
Miller, and Uncle John Patterson. FVV, p. 176.

1.

Goin' down this road feeUn'
Now I'm gain' down this road
Oh, I'm gain' down this road
Lord,
Now I ain't gonna be treated2.

I'm goin' if I never do come back,(three times)
Now lain' t gonna be trea ted thisaway.

3.

They feed me on corn bread and peas,(three times)
Now lain' t gonna be treated thisaway.

4.

Black ga l, them eyes sure do shine,(three times)
And I ain't a- g onna be treated thisaway.

5.

I'm gain ' down this road feelin' bad,(thr ee times)
And lain' t gonna be treated thisaway.

6.

I'm gain where the chilly winds don 't
blow,(three times)
And lain' t gonna be. treated this away .

bad, Lord, Lord,
fee lin , bad,feelin' bad,thisaway.

S IDE II Band 8
THE DYING GIRL
Sung by Mabel Cawthorn with 5-string banjo,
Carnesville, Franklin County, February 12 ,1983.
Eighty-two when she recorded thiS, Mabel
Cawthorn lives by herself with h er dogs andcats in an o ld house a few miles outside ofCarnesville. She grew up in a musical family
in Hart County: h e r father, William Jef f Adams
was a singer, her mother, a good dancer and(mouth) harp player, and her uncle, Albert
Shaw was a champion fiddler. When she was"a Ii ttle smarty toddler!! she surprised
her older brother, Tom, by learning to pick"Corrina, Corrfua ll on his banjo when he wasat work. As a grown woman she sold produce
from her truck, being called "the o ld vegetable woman", and worked in cotton mills- she says she would buck-dance between theaisles and work two machine s at once. The
widow of a moonshiner, she has kept her pioneer
toughness and self-sufficiency, and has not
let her music ge t rusty: she still plays banjo,
harp, and piano, and d e lighted the crowds at

Bobby and George Childers, Jasper , 1980.
the 1983 Georgia Folklife Festival with her
performance on banjo of the rare old IITam
Watson Tune. II Mabel l ea rned "The Dying Girl"
as a child for a school program. It is anineteenth century Ii terary pi ece that hasentered the oral tradition . H. ~1. Belden,
Ballads and Songs Collected by the Missouri
Folklore Society, Columbia; University ofMissouri Press, 1940, p. 217, gives a version collected in Boone Co., Missouri, in
1906, and says the song, first published in
Wehman's Ballad Prints (1885), may derive
fr om Tennyson 's ' 'May Queen." FVV, p. 178.
1.

Ra ise tha t window higher, mo ther,
Air will never harm me now;
Let the breeze blow in upon me,
I t wi 11 cool my fevered brow.

2.

Soon my troubles will be over,Soon will still this aching heart;
But I have a dying message
I must give before we part.

3.

Mother, there is one, you know him,
Though I cannot call his name.
You remember how he sought me,
How wi th loving words he came.

4.

Life has many weary burdens,
Sin goes down to the deepest woe.
Wipe the teardrops from my forehead,
They are dea th drops, well you know.

5.

Take this ring from off my finger
Where he placed it years ago,
Give it to him as I told him
11lat in dying I bestow.

6.

Chesley, Ralph, Don, and Joe, Cherry Log, 1979.

1.

Well, I got up Sa ' rday, walkin' around,
Cornin ' for to carry me home,
And I heard Glen say you're a litt le
too full,
Camin' for to C;a rry me home.

2.

But I took off to town, Lord, anyhow,
Comin' for to carry me home,
Looked over Dawsonville and what did
I see.
Comin' for to carry me home.
Glen and Toy they's camin' after me,
Comin' for to carry me home.

3.

Toy jumped out and kic ked me in theseat and busted my whiskey,
Comin' for to carry me home,
I asked him kindly would he turn mel oos e, he said,"Heck no, L.D., you gonna sleep ina cell,"Cornin' fo r to carry me home.

4.

Then along come Shorty t o go my bail,Cornin' for t o carry me horne,
They said, !!Get in, 'caus e you drunk, t oo, "Cornin' for to carry me horne.

5.

First thing I saw when I go t to jail,
Comin ' for to carry me horne,
Was a blame mess of peas they had thenigh t before,
Cornin I fo r t o carry me home.

Now my grave is ready, mother,
Now my people round me stand.
I'll be taken to sorne pleasant,To some pleasant churchyard land.

SIDE II Band 9
DAWSONVILLE JAIL
Sung by Ray Knight with guitar, 5 - str ing
ba njo by Ed Teague, fiddle by Art Rosenbaum.
Dahlonega, Lumpkin County, February 14, 1982.

11le Chanceys:

square dances, and more unusual spontaneous
appearances like the one celebrated in thissong, where he IIfiddl ed his way out of jail."
According to Ray, IIhe' s drunk in a few cases • . .
He wrote the song 'Dawsonville Jail' with
Shorty Lunsford over in Dawson Coun ty about
thrity odd years ago . There was the highsheriff Glen Wallace raisin' chickens on thefa rm." Snipes and Lunsford had been livingon the farm, working for Wallace. "Theseboys go uptown, get too much to drink, andToy, the chief deputy, lived at the jail,put 'em in jail. They 'd get that fiddle andguitar and you never seen such a crowd infront of the jailhouse, to see their id o l."Rather than use the well-worn "hard times
injail" format, Snipes and Lunsford
hit~ the idea of using the spiritual"Swin g Low, Sweet Chariot" for their tonguein cheek piece of mild pr ote st and contrition. FVV, pp . 208-09.

In his early forties Ray Knight is one of
the younger adherents to the old- time
traditional music of the north Georgia
hills . His early inspiration in music camefrom his "idol", the late L.D. Snipes, asuperb fiddler, singer, and entertainer
who seldom recorded but was well-known in
the region throug h radio and theater shows,6.

The peas was green and the meat was f at,Comin' for to carry me home.
Ch, my lord, I can 't stand that,
Camin' for to carry me home .

2.

7.

When we g ot to the jailhouse we fell to
our knees,
Comin' for to carry me home,
And we swore to our God we 'd drink no
more,
Comin' for t o carry me home.

SIDE II Band 11 FIVE TO MY FIVE
Sung by Reverend Howard Finster with 5-string
banjO, Pennville. Chattooga Couney, September
9, 1983.

8.

And then on Monday here come Toy,
Camin' for to carry me home,
Said, "Glen's downs tairs and he's
lookin I for his boys,"
Comin' for to carry me home,
I heard the key rattle when heopened the door,
Comin' for to carry me home.

9.

My advice to you young me that take alittle snort,
Comin' for to carry me home ,Before we take a drink we'd betterlook twice,
Comin' for to carry me home.

Sp oken:You've heard of free labor and Prince
Albert and workin' raisin' chicke ns forthe sheriff? We 'uz itl
Sung:
Comin' for to carry me home.
Wr; (lo'n hy L. D. ~ n jpo:' . ~ 1 !l~3, ~ ":a!~ 01 [.. . D. ~";P<'".

Raspberry pie, blackberry puddin',Give i t all away to kiss Sally Goodin .
Hey, ho, old Sally Goodin,
Hey, ho, old Sally Goodin.

Howard Finster was bo rn in Valley Head. Alabama in 1915; he has lived most of his life
in Chattooga County, Georgia, where he wasa preache r, evangeli s t. and bicycle repairman. In his retirement a vision came to himt o do "sacred artll, and he created the twoacre .I IParadise Garden" and ''World's First
Fo lk Art Church ll , an e nvironment of towers,
houses of mirrors, junk assemblages, sculpures,and paintings. This garden, and the hundredsof paintings and other works he has exhibitedin galleries from New York to Cali f ornia, haveearned him great fame in the past several years;
in 1983 he appeared on the Johnny Carson Show,and was invited to represent the U. S. at the1984 Venice Bienniale. Yet his roots are finnly in th e hardscrabble folk tradition of northGeorgia and Alabama. He grew up sing ing shapenote hymns fram the Sacred Harp, and picked up
the banjo on his own after listening to "cotton
pickers" who would play at house dances
after work on Saturday nights. He saysthat "when I was a boy, if you take a banjer in a church. they run y' out," buthe had n o compunctions about playing at
home. "Some people claim they don't do

Reverend Howard Finster. 1983.

2.

Nine to my five--forty-five,Te n to my five are fifty,'Le ven to my five are fifty- f ive,
Twe l v e to my five are sixty.

5.

Some have brothers over yonde r,(thre e times)
Over on the other shore.

6.

Repeat 2

7.

Some have a Savior over yonder,(thre e times)
Over on the other shore.

8.

Some bright day we'll go and see
Him(three times)
Over on the other shore .

9.

Tha t bright day may be tomorrow,(three times)
Over on the other shore.

Repeat both verses .

y Reverend Howard Fins ter wi th 5-s tring
banj o , Pennville, Chattooga County , August 21.
1980.
Howard introduces this song by saying that
it is the first he learned and add ing that
it is "not in the book", meaning tha t i t
is not found in any of the shape-note or
round-note hymnals. It is a traditional
song of the c a mp-meeting type, utilizing
repeated phrases tha t could be quickly picked
up by the ferv ent worshipers. A minor modal
version of this song is sung by Jean Ritchieof Kentucky as "I've Got a Mother Bound for
Glory." FVV. p. 228.

The Crazy Mountain Boys:
Atlanta, 1982.

Roy Adams, Ed Teague. and Ray Knight,

SIDE II. Band 10
SALLY GOOOIN
Sung by Ray Knight, with spoons; 5-string
banjo by Ed Teague. Dahlonega. Lumpkin
County, February 14, 1982.
Ray Knight is a ski1led and enthusiastic
spoons player and often buck-dances while
playing the spoons. He is accompanied here
as we1l as on the preceding cu t by Ed Teague,
a two-finger old-time banjo picker originallyfrom Rabun County. currently of Lavonia in
Franklin County. This song is almost universally known as a fiddle tune in the South,
though the verses are not sug today as frequently as in earlier times. Some typicalcouplets are given in Ira Ford, Traditional
Music in America, 1940, Reprint ed •• Hatboro,
Pa.: Folklore Associates, 1964, p. 64 and419. Ray's version derives from that of
L.D. Snipes. FVV. p. 210.
1.

Had five dollars, now I've got none,
Give it all away to see Sally Goodin.
Hey, ho, old Sally Goodin,
Hey, ho, old Sally Goodin.

1.

Some have fathers over yonder,(three times)
Over on the other shore.

2.

Some bright day we'll g o and see them,(three times)
Over on the other shore.

3.

Some have mothers over yonder,(three times)(Ner on the other shore.

4.

Repeat 2

Georgia Folklife Festival,

nothin' at home they don't do at church,
hut they're just lyin', you know . " Thissong is a play-party piece that Howard
remembers from these house dances andbox suppers: ''We'd march up and down,
gain' under one another's hands, and allthat." A privately issued LP of Howard's
music, The Sound of Howard Finster, 1979,
can be ordered from Finster, Route 2,
Box 155, Sunmerville, GA 30747. FVV, p.
230.

Recorded, produced, and annota ted by
Art Rosenbaum
Photographs by Marg o Newmark Rosenbaum
Thanks to Randy Camp of the Media Division,
University of Georgia Library, for help intape copying and preparation.
Some of the field work was funded throughfaculty research grants from the Departmentof Art, University of Georg ia; and a grantfrom the Folk Arts DiviSion, National Endowment for the Arta. Our thanks f or this
supp ort.
Annotations adapted from Folk Visions andVoices: Traditional Music and Song inNorth Georgia, Athens: Universi ty of Georgia
Press, 1983.

Spoken:This is the multiplication table, used
to learn 'em, five times five, two times
five is ten, on like that. and then they
got to singin' it in a little dance song
they had a t home parties, back in theold days.
1.

Five to my five is twenty-five,Six to my five is thirty,
Seven to my five is thirty five,
Eight to my five are forty.

LITHO. IN U.S.A. ~ .