Jerry R. Castleberry interview with Vaughn Saxon, Bessie Saxon, Ed Carroll, Samuel J. Richards, and Beulah Barnett Medlin

The John Burrison Georgia Folklore Archive recordings contains unedited versions of all interviews. Some material may contain descriptions of violence, offensive language, or negative stereotypes reflecting the culture or language of a particular period or place. There are instances of racist language and description, particularly in regards to African Americans. These items are presented as part of the historical record. This project is a repository for the stories, accounts, and memories of those who chose to share their experiences for educational purposes. The viewpoints expressed in this project do not necessarily represent the viewpoints of the Atlanta History Center or any of its officers, agents, employees, or volunteers. The Atlanta History Center makes no warranty as to the accuracy or completeness of any information contained in the interviews and expressly disclaims any liability therefore. If you believe you are the copyright holder of any of the content published in this collection and do not want it publicly available, please contact the Kenan Research Center at the Atlanta History Center at 404-814-4040 or reference@atlantahistorycenter.com. Vaughn Saxon plays folk songs the fiddle accompanied by Bessie Saxon on guitar. They perform Ricketts Horn Pipe, Fishers Horn Pipe, Never Alone, Leather Britches, and Turkey Buzzard. 8:02: Next, Bessie Saxon sings and plays guitar accompanied by Vaugh Saxon on the fiddle. She sings Tramp on the Street, Rank Stranger, Matthew Twenty-Four, and What a Friend We Have in Jesus. 18:50: Ed Carroll sings the hymns He Knows, Where Could I Go, How Tedious and Tasteless the Hours, Just a Rose Will Do, Wayfaring Stranger, Praise Him, Praise Him, Over the Tide, Children of the Heavenly, Sweet River, The Indians Petition, and Redemption. 51:40:Samuel J. Richards explains that he first heard the song Amazing Grace at the age of 5; he then sings two stanzas of the song. Beulah Barnett Medlin and Richards sing the beginning of Roving Gambler, discuss the correct lyrics, then continue singing the song. At the conclusion of the interview, Medlin and Richards discuss the words to the songs On Top of Old Smokey and Come All You Young People. Ed Carroll (1885-1983) married Mary Seabolt Carroll (1886-1955) in 1908. Vaughn Saxon (1912-1987) was born in in Union County, Georgia, to William Bennett Saxon (1883-1925) and Ella Saxon (1888-1925). During World War II, he served as a Private First Class in the United States Army . He married Bessie Ruth Saxon (1911-2003), and the couple had one child, Mary Lou Ashton (1933-2009). They retired to Cleveland, Georgia, in the 1960s. Additional biographical information has not been determined. Ed Carroll (1885-1983) married Mary Seabolt Carroll (1886-1955) in 1908. Vaughn Saxon (1912-1987) was born in in Union County, Georgia, to William Bennett Saxon (1883-1925) and Ella Saxon (1888-1925). During World War II, he served as a Private First Class in the United States Army . He married Bessie Ruth Saxon (1911-2003), and the couple had one child, Mary Lou Ashton (1933-2009). They retired to Cleveland, Georgia, in the 1960s. Additional biographical information has not been determined. I. Collected from Vaughn and Bessie Saxon on February 12, 1967 and recorded at 3-3/4. Vaughn is 58 years old and Bessie is 56. Vaughn plays a fiddle made by Mr. Earnest Hodges of Murrayville, Georgia, and Bessie plays a big Martin flat-top guitar. They are originally from linear Blairsville in Union County, Georgia ll but now live in Cleveland, Georgia. They are an excellent source of old fiddle tunes, but Bessie sings mostly modern gospel songs. A. Fiddle tunes with guitar accompanyment: RICKETT'S HORN PIPE - Vaughn learned this from Mr. Hodges. Ref: Folksongs of Virginia, Davis, Sec. IX, tune 32. FISHER'S HORN PIPE - Vaughn learned this from Mr. Hodges. Ref: Folksongs of Virginia, Davis, Sec. IX, tune 36. NEVER ALONE - A waltz number that they have always heard played in Union County. had a fiddle tried to play. LEATHER BRITCHES - A tune from Union County that "everyone that Ref: Folksongs of Virginia, Davis, Sec. V, song 7. TURKEY BUZZARD - Vaughn learned this from Bessie's grandfather, Mr. Simpson l'urner of Blairsville. Bessie said he could only play enough to have fun, but Vaughn learned to "saw" on the old fiddle "Mr. Simp" had.' B. Songs by 'Bessie Saxon, accompanied by Vaughn on the fiddle. TRAMP ON THE STREET Only e tramp was Lazarus sad fate N"- Who' lay down at the rich man's gate He begged for the crumbs from the rich man to eat He was only a tramp found dead on the street. He was some mother's darling, he was some mother's son OnceThe was fair and one he was young Some mother rocked him, her darling to sleep But they left him to die like a tramp on the street. If 3esus should come and knock at your door For a place to come in or bread from your floor Would you welcome him in or turn him away And God would reward you on the great 3udgementday: He was Mary's own darlin l;.;, he w.es Godls chosen son Once he was fair and once~he was young Mary she rocked him, her darlin' to sleep But they left him to die like the tramp on a street. This is a modern gospel song by Grady and Hazel Cole, but I feel, knowing the song is not old enough to prove my point, that it will be retained in the folk tradition. I have two reasons for this judgement. 1- Almost everyone I talked, to knew this song (which is a result of commercial media) and liked it very much (which is not necessarily a result of com mercial media). 2- It is an unusually "singable" song. My wife and I have had many giggles upon catching each other singing or absent mindedly humming 'it. RA~ STRANGER I wandered again to my horne in the mountains When the dews early dawn, I was happy and free I called for my friends, but I never could find ;them I found they were all rank strangers to me. ~verybody I met seemed to be a rank stranger No mother or dad, not a friend could I see They knew not my name, and I knew not their faces I found they were all rank strangers to me. They've all moved away, said the voice of a stranger They've moved to their horne by the bright crystal sea Some beautiful day, I'll meet them in heaven Where no one will be a stranger to me. Everybody I met seemed to be a rank stranger No mother or dad, not a friend could I see They knew not my name, and I knew 'not their faces I found they were all rank strangers to me. This is probably a modern gospel song. The only th'irig unusual about this song is its archaic use of the word "rank ll . MATTHEW TWENTY-FOUR I believe the time is ceming for the Lord to corne again I believe the end is nearing every door I believe the dear old Bible from beginning to the. end Just concerned today with Matthew 24: We are living, surely living" in the days it speaks about All the grievin ' now welre having every day Let's be ready for his corning, let us greet him with a shout For he tells us in his word to watch and pray. Went upon the Mount of Olives, the disciples came to him Saying "tall us when these tnings are gbing to be" Jesus answered "Be ye ready, let everyone be free from sin And take heed no man shall ever you deceiva." We are living, surely living, in the days it spaaks about All the grievin' now we're having every day Let's be ready for his corning, let us greet him with a shout For he tells us in his word to watch and pray. This is undoubtedly a modern gospel song. WHAT A FRIEND WE HAVE IN JESUS What a friend wa have in Jesus ~ll our sins and grief to bear ~hat a priviledge to carry Everything to God in prayer. Oh! What peace we often forfeit Oh! What needless p~in'we bear. All because we do not carry Everything to God in prayer. Scriven in 1855.This song was written by Joseph Ref: Hymns, Goodwin, page 328. II. Collected from Mr. Ed Carrol on February 19, 1967 and recorded at 7~. Ed Carrol is 82 yelilrs old. He lives by himself in a small ,house on Highway 52 North of Murrayville,Georgia. It is easy to tell he i's a religious man by reading the large hand painted "PREPARE TO MEET GOD" sign on' his mail box. He; cultivates l~ acres of land every year, cuts his own fire wood and spends all the time he can at the Wahoo Primitive Baptist Church, whic~ he joined in 1908. As a I. " , ',' young man he played the fiddle and five-string banjo, but decided they were a waste of time after he. joined 'the church. Needless to say, his favorite type of music is Sacred Harp. He says Sacred Harp singing started because of the way music used to be scored with notes first and then the 'll poetry li. Shaped notes were used so every one could learn the hine. Mr. Carrol says tha't'when he was a boy, they used to use a four note system, Rut that was like having seven . children and naming them Jack, Jack, John, John, Tom, Tom and Bill, so about 1890 people sterted using ,the seven note system. He assured me ths.t all of these songs were very old, but the first book he sung from did not have a date or place of publication. I think some of the songs t' could no't find any information on were more old favorites of Mr. Carrol than BId songs. A. From Spiritual Hymn~ for Prayer Meetings, Church Services, Re vival-Meetings'and Young 'Pe;;pIe's-MeetiD9s. No date or' pJ.ace of pUblication.---' HE KNOWS He knows the bitter, weary way, The endless striving day by clay The souls thet weap, the souls that pray He knows, He know$. He knows how hard the fight has been The clouds that come our lives between The wounds the world had never seen He knows, He knows. He knows when f~int and worn we seek How deep the "I;>airi, how near the brink Of dark dispair we pause and shrink He knows, He knows. He knows those thoughts are full of bliss For though on earth our joys we miss We s'till can bear it feel ing this He knows, He knows. Mr. Carrol did not sing the notes for this song, and 1 had no polite way of stopping him once he got started. WHERE COULD 1 GO me me me me do ra do do ra do do do ra me me fa me rs me me me me do ra do do ra do me so fa me do ra ra do me me me me do ra do do ra do do do ra me me fa me fa me me me me do ra do do ra do me so fa me do ra ra do Living below in this old sinful worlH Hardly a comfort can afford Striving alone to face temptation sore Where could 1 go but to the Lond. Where could I go, Ohi Where could 1 go Seeking a refuge for my soul Needing a friend to save me in the end Where could 19o but to the Lord. Life here is grand ,dth friends 1 love so dear' Comfort 1 get from God's own word Yet when 1 face the chilling hand of death Where could 1 go but to the Lord. Where could 1 go, Ohi Where could 1 go Seeking a refuge for my soul Needing a friend to save me in the end Where could 1 go but to the Lord. HOW TEDIOUS AND TASTELESS THE HOURS do do so do me do me so fa me so me ra do ra do do do so do me do me so fa me so 'me ra do ra do so so me so so me so la fa me so so so fa me ra do do so do me do me so fa me so me ra do ra do How tedious and tasteless the hours When Jesus no longer I see Sweet prospect, sweet birds Bnd sweet flowers Have all lost their sweetness to me Ihe mid-sumrner sun shines but dim The fields strive in vain to look gay But when I am happy in him Decembers as pleasant as May. Content with beholding his face My all to his pleasure resigned No changes of season or place Would make any change in my mind While blessed with a sense of his love A palace, a toy would appear And prisons would palaces prove If Jesus would dwell with me there. Ref: Union Harp, James, page 104. Thi,s is verse l""and 3 of "Greenfieldll , written oy an Englishman, John Newton, in 1779. The words are identical. Ref: Spiritual Folk Songa, Jackson, song 60. This is also verse 1 and 3 of "Greenfield" and again the words are iden t:ic~l. JUST A ROSE WILL DO me so la me ra do me do me so me do me ra me so la me ra do me do so la ra me do so do do do do te la so me so do do do te la so me so la me ra do me do so la ra me do When time shall come for my leaving When I bid you adieu Don't spend your money for flowers Just e rose will do. I go to a beautiful garden at last When life's work in through Don't spend you money for flowers Just a rose will do. I need no organization Just to make a to-do I need no bright decorations Just' a ,rose will do. I go to e beautiful garden at last When life's work is through Don't spend your money for flowers Just a rose will do. WAYFARING S'TRANGER la do ra me me ra mel do la la ra ra ra la do ra me la do ra me me ra me do la so la do ra do la so la me me so la me so la me ra me me so la me so so me so so me do do ra me do la la do ra do d~ 1a so la 1 - I am a poor wayfaring stranger 2 - While traveling through this world below 3 - There is no sickness, toil nor danger 4 - In that bright world to which I go. 5 - I'm going there to meet my father 6 - 1 1m going there no more to roam 7 - I am just going over Jordan 8 - I am just going ,over horne. 9 - I'll soon be free from every trial lO~ This form will rest beneath the sod 11- I'll drop the cross of self-denial 12- And enter in my horne with God. 13- I'm go:i:ng there to see my Savior 14- Who shed for me his precious blood 15-I:. am just going over Jordan' 16~ r am just going over home. Mr. Carrol says this song'is "bout as old a music as we have got in this country.1I Ref: Folk Song U. S.A., Lomax, song 97. This version does not have Mr. Carrol's 2nd verse, but the chorus for it, only slightly changed, is found in the following verse: I want to wear a crown of glory When 'I get home to that bright land. I want to shout Salvation's story In concert with that bloodwashed band. 1 1m going there to meet my Savior 14- (To sing his', praise for ever more) 15- (I'm only) going over Jordan 16- (I'm only) going over home. Ref: Spiritual Folk-Songs, J~ckson, aong 40, 5 -, I'm going there to (see) my father 7 - (I'm only) going over Jordan 8 - (I'm only) going over home. 9 - I'll soon be (freed) 'from every trial 10- (My body will sleep in the church yard) 12- And enter (on my, great reward). The chorus that Jackson presents with Mr. Carrol's 2nd verse is: Il m going there to see my class-mates Who've gone before me one by one; I'm only going over ,Jordan I'm only going over home. Mr. Carrolls chorus for his second verse is found in: ,'1 went to weer e crown of glory When I get bOIIe em 1:_t good land I _nt to shout Salvetion'e story In concert with tha blood-_sh'd bana. I'm going there to eee Illy Sevior 14- (oro sing hie preisee forever more) 15 -(I'm only) going over Jorden 16- (I'm only) going over llOme. PRAISE HIM. PRAISE HIM me eo do me re do te 1e eo do me eo do ae me re' do re ae re me eo do me re me re do te le eo do me eo fe re alo do do me re do re lIle re do eo me re me fe me re lIle eo do me me re do re me re lIle eo do me re me re do te 1e eo do m. eo fe re do te do me r. doPraise him. Praise hbl .Je~s our blessed rede_er Sing all earth his wonderful love proclaim Hail hbl. Hail hbl. brightest arohange1 in glory Strength and honor give to his holy name. Like a s-"pherd .Jesus will guard his children In his arms he oarried them all day>.long , Praise him. Praise hbl tell of bis exoellent greatness Praise hbl. Praise him ever in joyful song. Praise hbl. Praise him .Jesus our blessed redeemer Heavenly ports1s loud his hosannas ring .Jesus. Savior. greatest for ever and ever Crown hbl. Crown him. prophet and priest and king. Christ is oOlling over the world viotorious Power and glory until the Lord belongs Praise him. Praise him tell of his excellent greatness Praise him. Praise his ever in joyful song. Ref: ' Hymns. Goodwin. psge 249. This wes written by Psnny .J. Crosby. No date wes give. Ref: Baptist HYlllna1. Sbls. psge 137. by Panny .J. Crosby. (1820-1915) OVER THB TIDB do do do ra do 1a so 1a do do me ra do do te do me ra do ra do do do ra do 1a so 1a do do me ra do ra do ra do me ra me so 1e me ra do ra me do do do ra do ra me do do do do ra do la so 1a do do .e ra do ra do ra do Over the tides of life's wonderful sea Is a bright mension that's waiting for .e All of his glories I soon shall behold Treasures more preo~ous than gold. Soon I shell anohor on heaven's bright shore And frCllll all sorrows be free Then shall no trouble or death ever oome And with my Savior IIU be. Though for a while on this earth I may be Tossed like a ship by a storm on the sea Trusting my Savior as pilot and guide Over this troublesome tide. Soon I shall anohor on hsaven's bright shore And from all sorrows be free There shall no trouble or death ever come And with my Savior 1'11 be SpOken by Mr. cerrol. "Letls see. I got the two verses. didn't I?" At the first of thie song. you can hear Mr. cerrol gel; Ms pitch end sing do-me-so-me-do. Mr. S.,J. Richerds. who is'""''1 heard this and said a real "old timey" Sacred Harp singer would elways do this. alILDRBN OF THE HBAVBNLY KING Ie te Ie me re me so Ie do te Ie te la so me eo Ie do te la re do re me la so me te la me ra me so la 1- Children of the heavenly King 2- As ye journey sweetly sing 3- Sing our savior's wortliJ praise 4- Oloz:oiousis his works and ways. 5- Lord submit to make us 6- Gladly leaving all below 7- Only thou our leader be 8- And wa still will follow thee. Ref: Hymns. Goodwin. pege 47. Tha song was written by ,John cennickin 1742. 5- Lord (obediently wa go) Ref: Union Harp. ,Jemes. pege 144. This version did not con tain Mr. Carrol's 2nd verse. In the 1st verse the words ware identical. Ref: Spiz:oitual Polk-Songs. ,Jeckson. song 243. This vez:osion is celled "Werfare". The words are the same but "Till tile warfare is ended. hallelujeb" is eddsd at the end of each line. 1- Children of the heevenly King; till the warfere is ended. hallelujeh. 2- As ye journey sweetly sing; till the warfere is ended. hellelujeh. ect. B. PJi'cm!!!! Cbristie. HeX'lllony by William Welker. Pirst published 1866; republished 1901 by,J.A. Gerrison of centon. Georgia. SWEET RIVER do lIIe me do ra ra lIIe so so re lIIe so la so me so lIIe ra do do me lIIe do ra ra lIIe so so ra me so la so me eo me ra do $0 do do la te do te te la do so 80 do do so lIIe so la $0 do do so lIIe so so fe me so la so lIIe so lIIe ra do Sweet rivers of redeeming love Lie just before mine eyes And as the pinions of a dove I'd to those rivers rush. I'd rush superior to Illy faith With joy I'd sip the wind I'd cross bold Jordan's storay ..ze And leave the world behind. While I'm Uoprisoned hare below In anguish, pein and se\srt Oftillles my troubles I forgo While love surrounds my hesrt. In darkest shadows of the night Feith lllounts the upper sky I then behold my haarts delight And could rajoice to die. Tllds _s Mr. carrol's mother's favoxtite song. It IIIUSt not hove been very lIIany people's favorite, because I could not find eny reference to it. TBB INDIANS PETITION do do lIIe ra do do do 1e so 1e so do do me fe IllS re me do do me so me me re ra me fe me ra me do do me so me me re do do ms re do do do 1e so 1e do fa so 1e so do do me me do do do so ma re do do 1 - Let ilia go to Illy hOll\e 2 - To the far distant west 3 - To the scenes of my childhood 4 - In innocence blessed 5 - Where the tell cedars _ve 6 - And the high we'ters flow 7 - Where my fethar's repose a - Let me go, let me go 9 - Where my father's rapose 10- Oh there let ilia go 11- Let ae go to the spot 12- Where the caterects pley 13- Wh~re oft I heve sported 14 In boylhood by day 15- And to greet ay poor mather 16- Her hear~ will overflow 17- At the sight of her child 18- Let ae go, let me go 19- At the sight of her child 20- Ob there let ae go. Mr. carrol epologized for not being able to sing this song very well, but he said he was e little out of practice on it be ceuse he could not get the younger paople to sing it. He thought the reason they did.. not sing it now was because most of them had never even seen e real indian. The reprint of !2!. Christian Hermony Mr. carrol had gave the following story ebout this song I It was composed by the son of a chief of one of the western tribes wbo was sent to Wesh ington to make a',tr_ty with the United States. He remained in Washington for quite a while because the treety was delayed by some unavoidable circumstance. While in Washington he wrote this song. Well-it's a nice story anywey. RefI North carolina Folklora, Brown, Vol. III, song 270. "The Indien Hunter'!'. 2 - (That is) far distant west 3 - To the scenes of ay (youth) 4 - (That I like tha best) 5 - Where the tall ceders (ere) 6 - And the (bright) waters flow 7 - Where ay (parents will greet me) 8 - (White men) let me go 9 - Wlhere my (parents will greet me) 14- (In my boyish days) 15- (There is) my poor motlher 17- (Whose) heart will overflow 18- (Oh there) let me go. REDEMPTION do lIle rs lIle la do do so ls do do me do me so ls so so me do do la do do do 'do me rs me la do do so le do do me do lIle so le so so me do do le do do do me so so so lIle do me so ls le ls so me so so ls so 1e te do do ls so me la le la do so fa me do la do do so la do do me do so 1& so so me do do la do do do 1 - Come all ye young people to every relation 2 - Come listen now while unto you I will tell 3 - How I was first called to seek for salvation 4 - Redemption and Jesus who saved me frOlll hell 5 - I was not yet sixteen wben Jesus first called me 6 - To tbink of my soul end the stete I was in 7 - I sew myself standing a distant fra. Jesus 8 - Between me and h:l.a wae e mountain of sin 9 - I was not yet sixteen When Jesus first called me 10- To think of my soul and the shape I wes in 11- I saw myself standing a distant from Jesus 12- Between lIle and him wee a lllountain of sin. 13- The devil perceived that I was convinced 14- He strove to persuede me that I 'lilt! too young 15- That I would get weary before my aseention 16- And wish that I bad not GO early begun 17- Scmetb\l!ls be'd pe:r:euade me that Jesus wes partial 18- When be was a-settiflg of poor e~.nne:r:e free 19- That I was fcrsaken and quite :t.-eprobated 20- And tbere '1111'" no mercy at all for poor l1\e 2l- Sanetiaes be'd persuede me that Jesus was partial 23- That I _e forsaken and quite reprobeted 22- When he wes a-setting of poor: sinnere free 24- And there was no mercy et all for poor lIle. Ref: Spiritual Folk-Son.ge, Jaokeon, eong 12, "Redemption" Version C. 2 - Come listen (8) wbile unto you I will tell 4 - Redemption (through) Jesus who ssved me frOl\1 hell 5 - I (ecarcely wes) Elixteen when (JfISS {i.rat (;;fIned) 6 - To think of my soul and the shape (it) was in 9 - I (scarcely was) sixteen when (Iwas first called) 10- To think of my soul and the shape (it) was in 13- The devil perceived that I was (convicted) 15- That I would get weary before my (days ended) 19- That I was (forgotten) and (~~s) reprobated 23- That 1 was (forgotten and (was reprobated) III. Collacted fro. Mr. Samuel .1. Riohards and Mre. Beulab Barnett Medlin on Merch a, 1967, recorded at 7~. Mr. Richards is 79 years old. He wes born in Dawsonville whera he spent tbe first fifteen yeers of his: life. After that he "started rallbling". He is proud of tbe fact that he bad been in eighteen states. He played the banjo until about fifteen years ago when his rbeUlllati8lll started "b~Ehering" his hands. He weighs about 240 pounds and is about ~eet 3 incbes tall. He likes to tell about the figbt:s he has had and the scraps he bas gotten into. Tbis makes it hard to keep hilll on tha subjeot of songs. He remembers parts of .any old songs, but his memoryvis rather bad, and it makes h:l.a nervous to "think too hard." Mrs. Beulah Medlin is 56 years old. She lives in the same a partment bu:l.1ding in Atlanta that Mr. Richards does. She was foraer1y Beu1alil> Bernett of Cummings, Georgia. She is quite a colorful person as can be se.n frClll our discussion on tape. She hes lived in Cummings most of her life, but managed to get out into tbe world 10nl'l enough to get a tatoo on the inside of her left foreara. It is quite old and faded, and as I had just met her, decency would not parait me to question her about :l.t. She is no relation to Mr. Richards, but likes to call b:l.a "J:!0P" and get him riled. The songs she knows are mostly sentimental, but she needs a few days to think about them I1Iefore she cen remember more than the bere plot. You will see in the interview whet happens if you question her too hard. OOMS ALL YOU YOUNG BOYS C_e all you young boys And listen to what I say The day that I got married I swore Illy life avay. I llIet a very fine lady She just ceme from Arkansas And I ain't seen a minute~ peaca Sinca I mat my mother-in-law. wife she taken a notion that she would cross that sea And the war broke out in Buropa Obl She cen' t get _ck to me. Wh:l.1e my wife's in Europa I certein1y wish her _11 Por I can drink Illy Whiskey And she cen go to ! 1'11I glad my wife's in Burope And she cen' t get _ck to me If she gets beck frClll Europe She'll have to swim thet sea. I'm glad my wife's in Burope Where she can't get back to me. The following inforaation about his song is admittedly vague. Ia. Riclbarde learned it when he _s about 18 or so wlhen he was at "that a1_inum p1aca in Tennessee." He does not know where the man that taught it to him 1earnad it, but ha remembers that they had a fight, and can describe it in great deta:l.1. The man was "frClll across the water" but he cen not remember where across t~"vater or what his name vas. It se_s to me to be a broed side that was rewritten for the Piret World War. ef: Polksongs of Virginia, Davis, Sec. VI, song 27, "Mother in-law" I do not know if tile songs are similar, but this is the closest reference I could find in print. AMAZING GRACB Me: Where did you first hear Barbara, I Ill_n, Amazing Grace? Mr. Richards: Ob, I recon I must have been 5 or 6 years old. Me: I knew it _s an old sonljJ (brilliant statement). Mr. Richard." Oh, yes, that songs seventy-five or maybe one hundred yearcold. AUilibg' Graca, how sweet the sound That saved a wretch like Ille I once _s lost, but now I'm found Was blind. but now I see. And I'll sing hallelujah And you sing hallelujah. Mr. Richards says this is the _y tille song _s origil'll!llly written and that it bas been cbanged since people in the city started singing it. This is tbe same tune as the clburch sings on a I~~ Jean Ritclhde record you have. I think this version is unusual because of the addition of tbe last two lines about singing hallelujah. Ref: Baptist Hymnal. Sims, song 188. Written by Jobn Newton 1725-1807. Tbe words are identical but this version does Dot have t"" last two lines. Ref: Polksong, U.S.A., L_x. song 96. Agaift the words are identical and the lest two lines are not inoluded. Ref. Spiritual Polk-Songs, Jackson, song 135. with tbe title of "New Britain". "Harmony Grove". "S)'IIlpbony". "Solon" and "Redemption". Again the' words are identical and the last two lines are not included. " Mr. Richards: I can't go no furtber with it. I shore oen't. It's been ~rs and yeers sinoe Ive even thougbt of tbat thing. In the following section I taped Mr. Richards and Mrs. Medlin singing a version of "The ~oving Gambler" and e fragment of "Floyd Collins" and "On Top of Old SIIIokey". The talk is a little confused and they argue some about differant verses so I will list the songs first and then e copy of t~dialogue with the songs. ROVING GlMBLBR 1 - I am a roving gambler 2 - I gambled down in town 3 - Wheraver I meet with a deck of card. 4 - I lay my money down. 5 - I gambled down in Washington 6 - I gambled over in ~n 7 - I'm going beck to old Georgia 8 - To gamble my la.t game. 9 - I hadnI t been in Wa.hington 10- Bat a week or two or three 11- I fell in love with a pretty littlejirl 12- And she fell in love with me. 13- She carried me in her parlor 14- She cooled me witin her fan 15- She whispared lew in her mother's ear 16- I love that gambling man. 17- Oh, daughter, oh dear daughter 18- How can you treat me 80 19- To live-a with a gambler 20- And leave your mother sO. 21- Ob, mother, oh dear mother 22- I love you I knew 23- But the love I have for the gambling man 24- No .l!Iuman tongue can tell. RefI North Carolina Folklore. Brown. Vol. III. song 49B, "The Journeymen". 5 - I'm going (down to) Georgie 10- ~Many more weeks than) three 13- She (tool<:) me in her parlor 18- (Why do) you treat me so? 19- (To le&ve your dell!." old mother) 20- (And with a gambler go) 22- (YOIl know I love you ',1ell) Ref I Folksongs of Vi.rginia. Da"is, Seo. III, I, songs 1 and 3. Ref': Native American Eallad:ry, La~,s, Sec. H-4. gambled down in Wasbington I gambled down in Spain Wberever I meet ntb a deck of 1'11 cards Mrs. M: Wait a ainute, ob oh, we a.ssed up on that. Me I How does that part go? Mr. R: Wherever I meet with a deck of cards I lay my money down. Mrs. M: That's what I seid. Yea, but, uh I I gambled down in Washington II'ambled over in Spain I'm going beck to old Georgia And gamble my last game. Mrs. Ml I know, but tlhat's the last part of it. That's when they catch him, see? Mr. Rl Ob, it is? Well. Mrs. Ml Un huh! Mr. Rl O.K., all right. Mrs. M: I met a girl in Washington. Mr. R: Mrs. M 6. Mr. R: No-l llladn't been in Washington But a week or two or tltm.-ee (But many e week or three )---Mrs. M. I fell in love with a pretty little girl And sIDe fell in love with me. She carried ae in her parlor She col!lled me with her fan She whispared low in her mother's eer I love that gambling man. Oh daughter, dear daughter How can you treat me so To live-a with a gambler And leave your mother so. Oh, mother, dear mother I love you I know But the love I have for the gambling man No human tongue can tell. Mrs. MI Let's see. Mr. RI Well, he's got enough, he can:....__ Mel Wbst was that last verse? Mrs. MI Ob motheI/, oh motheI/ I'll tell you if I can But the love I have for the gambling IllSn No human tongue can tell. Mel What did they usually end the song with? Mrs. III Well, BOW', we,'n going to bave to figuI/e it out just like you're trying to figuI/e it out. I don't know. Let's see.:-Pop, h_ was that? SOllIe of that Mrs. ifl Wait a minuta. He says-yea-What it ended up to is Ire was aceming back to Georgia. They had caught him. He was cCllling back to Georgia to gamble bis last game. Mr. RI I was e roving gambleI/o Mrs. MI Un-buh. Le1:'s see now. This is an old unl On 1:op of old BIllokey All covered with SBOW It's where I met my true lover By courting too slow., Mr. RI . Yea, I've heard it, used to sing i1:. Lord, Lord, I bat I ain't though1: of that thing in forty years. Mrs. MI I can't get the rest of it. I used to-_, she used to sing it to us, and uh-wait a minute. Mr. RI Bu1: now that there, boy that got killed for tlile diamond. (I think he was talking about Dupree, bu1: he didn't know bow the song went). Mrs. III t.Jb, Ub. Tha1:'s Floyd Collins, COllIe all you young people And listen to wha1: I tell The death of Floyd Collins We all knew well. PLOYD COLLINS 1 - e- all of you young people 2 - And listen to what I tell 3 - The death of Ployd Collins 4 - We all knew we.ll. Ref I North Carolina Polklore, Brown, Vol. II, song 212. 2 - And listen (wlhd.le) I tell 3 - (The fate) of Ployd Collins 4 - (A lad) _ all knew _11. Ref: Native American Balladry, Laws, Sec. G-22. ON TOP OF OW SMa<BY 1 - On top of old _okey 2 - All covered with snow 3 - It~s where I lIIet my true lover 4 - By courtin' too slow Ref I North Caroline Polklore, Brown, Vol. III, song 253A 3 - ('I lost my twe) lover Ref: Polksong U.S.A., LOIIax, song 18. Ref: Polksongs of Plorida, Morris, song 65. Dialogue and songs frOlll Mrs. Medlin and Mr. Richards. Me: Where did ya'll learn t"t "Roving Gslabler"? Mrs. M: Jesus, hon, it's been ever sinca I've been in the world, I recon, and I'm fifty-six years old. Me: I had heard it before on the radio and all. Mrs. M: It's an old folksong--and it's been, oh, let's see, I was born in 1910 and this is, uh, I'll be fifty-six. Mel Ya'll sing that for me, pl_ee. You W<llre doing good while ago. Mrs. M: You want me to start it off or do you want to start it off? Mr. R: You go ahead, I'll catch you. Mrs. M. & Mr. R. I I alii a roving gambler I gembled down in town Wherever I meet with a deck of cards I lay Illy money down. Mr. RI Yea. Mrs. MI Well, that _s Ployd Collins Mr. RI Well-he's killed here in Atlanta; _sn't.he? Mrs. MI No, up yonder in the cave. Up thera in Tennessee in that cave, you. know. Mr. RI Thet's right. He's the one that died in the cave. Mrs. LlI Yea. Mel How does that one go? Mrs. MI Hoa. listen. I'll be honest witli>. you. I can't think of all those. who I mean the verses that cOIIles in there. I'll heve to get up there and set down in my ro_ and write it down. A PDF transcript exists for this recording. Please contact an archivist for access. Professor John Burrison founded the Atlanta Folklore Archive Project in 1967 at Georgia State University. 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