The Caissons Song

 The original version of this song, written in 1908 by Edmund Gruber, was titled "The Caissons Go Rolling Along." Those lyrics differ from the current official version. Gruber's version was transformed into a march by John Philip Sousa in 1917 and renamed the "U.S. Field Artillery March." 

"The Army Goes Rolling Along" is the official song of the United States Army and is typically called "The Army Song". It is adapted from an earlier work titled the "U.S. Field Artillery March".

The United States Navy, Marine Corps, Air Force, and Coast Guard had adopted official songs, and the Army was eager to find one of its own. They conducted a contest in 1948 to find an official song, but no entry received much popular support. In 1952, Secretary of the Army Frank Pace asked the music industry to submit songs; he received more than 800 entries. "The Army's Always There" by Sam H. Stept won, and an Army band performed it at President Dwight D. Eisenhower's inaugural parade on January 20, 1953.

Many thought that the melody was too similar to "I've Got a Lovely Bunch of Coconuts". The Army decided to use much of the melody from Sousa's "U.S. Field Artillery March" with new lyrics. Harold W. Arberg, a music advisor to the Adjutant General, submitted lyrics that the Army adopted. Secretary of the Army Wilber Marion Brucker dedicated the music on Veterans Day, November 11, 1956. The song is played at the conclusion of the most U.S. Army ceremonies, and all soldiers are expected to stand at attention and sing. When more than one service song is played, they are played in the order specified by Department of Defense directive: Army, Marine Corps, Navy, Air Force, Space Force, and Coast Guard. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Over hill, over dale
As we hit the dusty trail,
And the Caissons go rolling along.
In and out, hear them shout,
Counter march and right about,
And the Caissons go rolling along.

Then it's hi! hi! hee!
In the field artillery,
Shout out your numbers loud and strong,
For where'er you go,
You will always know
That the Caissons go rolling along.

In the storm, in the night,
Action left or action right
See those Caissons go rolling along
Limber front, limber rear,
Prepare to mount your cannoneer
And those Caissons go rolling along.

Then it's hi! hi! hee!
In the field artillery,
Shout out your numbers loud and strong,
For where'er you go,
You will always know
That the Caissons go rolling along.

Was it high, was it low,
Where the heck did that one go?
As those Caissons go rolling along
Was it left, was it right,
Now we won't get home tonight
And those Caissons go rolling along.

Then it's hi! hi! hee!
In the field artillery,
Shout out your numbers loud and strong,
For where'er you go,
You will always know
That the Caissons go rolling along.
That the Caissons go rolling along.
That the Caissons go rolling along.

The Army Goes Rolling Along

March along, sing our song, with the Army of the free
Count the brave, count the true, who have fought to victory
We're the Army and proud of our name
We're the Army and proudly proclaim
First to fight for the right,
And to build the Nation's might,
And The Army Goes Rolling Along
Proud of all we have done,
Fighting till the battle's won,
And the Army Goes Rolling Along.

Then it's Hi! Hi! Hey!
The Army's on its way.
Count off the cadence loud and strong (TWO! THREE!)
For where e'er we go,
You will always know
That The Army Goes Rolling Along.

Valley Forge, Custer's ranks,
San Juan Hill and Patton's tanks,
And the Army went rolling along
Minute men, from the start,
Always fighting from the heart,
And the Army keeps rolling along.

Then it's Hi! Hi! Hey!
The Army's on its way.
Count off the cadence loud and strong (TWO! THREE!)
For where e'er we go,
You will always know
That The Army Goes Rolling Along.

Men in rags, men who froze,
Still that Army met its foes,
And the Army went rolling along.
Faith in God, then we're right,
And we'll fight with all our might,
As the Army keeps rolling along.

Then it's Hi! Hi! Hey!
The Army's on its way.
Count off the cadence loud and strong (TWO! THREE!)
For where e'er we go,
You will always know
That The Army Goes Rolling Along

Buffalo Gals

 "Buffalo Gals" is a traditional American song, written and published as "Lubly Fan" in 1844 by the blackface minstrel John Hodges, who performed as "Cool White". The song was widely popular throughout the United States, where minstrels often altered the lyrics to suit local audiences, performing it as "New York Gals" in New York City, "Boston Gals" in Boston, or "Alabama Girls" in Alabama, as in the version recorded by Alan Lomax and Shirley Collins on a 1959 field recording trip. The best-known version is named after Buffalo, New York.

The chorus is:

Buffalo gals, won't you come out tonight?

Come out tonight,

Come out tonight?

Buffalo gals, won't you come out tonight,

And dance by the light of the moon?

The Western Writers of America chose it as one of the Top 100 Western Songs of all time.

The lyrics are a reference to the many "dancing girls" who performed in the bars, concert-hall dives, and brothels of the Buffalo, New York, Canal district, which at that time was the western terminus of the Erie Canal and the site where canal and freighter crewmen received their wages. 

To download the easy aplhnotes sheet music, look here. Enjoy!

Lyrics:

chorus:
Buffalo gals won't you come out tonight
Come out tonight, come out tonight
Buffalo gals won't you come out tonight
And dance by the light of the moon

verses:
As I was walking down the street
Down the street, down the street
A pretty little gal I chanced to meet
Oh, she was fair to view

She was the prettiest gal I’ve seen in my life
In my life, in my life
And I wished to the Lord she’d be my wife
Then we would part no more

Oh, yes, dear boy, I'm coming out tonight
Coming out tonight, coming out tonight
Oh, yes, dear boy, I’m coming out tonight
And we’ll dance by the light of the moon

I danced with that gal with a hole in her stocking
And her heel kept a-rockin' and her toe kept a-knockin'
I danced with that gal with a hole in her stocking
And we danced by the light of the moon

Where Have All the Flowers Gone?

 "Where Have All the Flowers Gone?" is a folk song written by American singer-songwriter Pete Seeger in 1955. Inspired lyrically by the traditional Cossack folk song "Koloda-Duda", Seeger borrowed an Irish melody for the music, and published the first three verses in Sing Out! magazine. Additional verses were added in May 1960 by Joe Hickerson, who turned it into a circular song. Its rhetorical "where?" and meditation on death place the song in the ubi sunt tradition. In 2010, the New Statesman listed it as one of the "Top 20 Political Songs".

The 1964 release of the song as a Columbia Records Hall of Fame series 45 single, 13–33088, by Pete Seeger was inducted into the Grammy Hall of Fame in 2002 in the Folk category.

Seeger found inspiration for the song in October 1955 while he was on a plane bound for a concert at Oberlin College, one of the few venues which would hire him during the McCarthy era. Leafing through his notebook he saw the passage, "Where are the flowers, the girls have plucked them. Where are the girls, they've all taken husbands. Where are the men, they're all in the army." These lines were taken from the traditional Cossack folk-song "Koloda-Duda" (Ukrainian: Колода-дуда), referenced in the Mikhail Sholokhov novel And Quiet Flows the Don (1934), which Seeger had read "at least a year or two before". In a 2013 interview, Seeger explained that he borrowed the melody from an Irish lumberjack song with the words 'Johnson says he'll load more hay.' He simply slowed the tune and incorporated the lines into it.

Seeger created a song which was published in Sing Out in 1962. He recorded a version with three verses on The Rainbow Quest album (Folkways LP FA 2454) released in July 1960. Later, Joe Hickerson added two more verses with a recapitulation of the first in May 1960 in Bloomington, Indiana.

The song appeared on the compilation album Pete Seeger's Greatest Hits (1967) released by Columbia Records as CS 9416.

Pete Seeger's recording from the Columbia album The Bitter and the Sweet (November 1962), CL 1916, produced by John H. Hammond was also released as a Columbia Hall of Fame 45 single as 13-33088 backed by "Little Boxes" in August, 1965.

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

Where have all the flowers gone, long time passing?
Where have all the flowers gone, long time ago?
Where have all the flowers gone?
Gone to young girls, every one!
When will they ever learn, when will they ever learn?

Where have all the young girls gone, long time passing?
Where have all the young girls gone, long time ago?
Where have all the young girls gone?
Gone to young men, every one!
When will they ever learn, when will they ever learn?

Where have all the young men gone, long time passing?
Where have all the young men gone, long time ago?
Where have all the young men gone?
Gone to soldiers, every one!
When will they ever learn, when will they ever learn?

And where have all the soldiers gone, long time passing?
Where have all the soldiers gone, a long time ago?
Where have all the soldiers gone?
Gone to graveyards, every one!
When will they ever learn, when will they ever learn?

And where have all the graveyards gone, long time passing?
Where have all the graveyards gone, long time ago?
Where have all the graveyards gone?
Gone to flowers, every one!
When will they ever learn, oh when will they ever learn?

If I Had a Hammer (The Hammer Song)

 "If I Had a Hammer (The Hammer Song)" is a protest song written by Pete Seeger and Lee Hays. It was written in 1949 in support of the Progressive movement, and was first recorded by the Weavers, a folk music quartet composed of Seeger, Hays, Ronnie Gilbert, and Fred Hellerman. It was a #10 hit for Peter, Paul and Mary in 1962 and then went to #3 a year later when recorded by Trini Lopez in 1963.

The Weavers released the song under the title "The Hammer Song" as a 78 rpm single in March 1950 on Hootenanny Records, 101-A, backed with "Banks of Marble"

The song was first performed publicly by Pete Seeger and Lee Hays on June 3, 1949, at St. Nicholas Arena in New York City at a testimonial dinner for the leaders of the Communist Party of the United States, who were then on trial in federal court, charged with violating the Smith Act by advocating the overthrow of the U.S. government. It was not particularly successful in commercial terms when it was first released. It was part of the three songs Seeger played as the warm-up act for Paul Robeson's September 4 concert near Peekskill, New York, which subsequently erupted into a notorious riot.

It fared notably better commercially when it was recorded by Peter, Paul and Mary 12 years later. Their version of the song, released in July 1962 from the group's debut album became a top 10 hit, and won the Grammy Awards for Best Folk Recording and Best Performance by a Vocal Group. Trini Lopez's 1963 single went to number three on the same Billboard chart. It was included on his album Trini Lopez at PJ's (Reprise R/RS 6093). Rita Pavone's Italian-language adaptation "Datemi un martello", with lyrics by Sergio Bardotti, was a major hit in Italy and also charted in South America. 

To download the easy alphanotes sheet music, look here. Enjoy!

Lyrics:

If I had a hammer
I'd hammer in the morning
I'd hammer in the evening
All over this land
I'd hammer out danger
I'd hammer out a warning
I'd hammer out love between
My brothers and my sisters
All over this land, uh

If I had a bell
I'd ring it in the morning
I'd ring it in the evening
All over this land
I'd ring out danger
I'd ring out a warning
I'd ring out love between
My brothers and my sisters
All over this land, oh

If I had a song
I'd sing it in the morning
I'd sing it in the evening
All over this land
I'd sing out danger
I'd song of out a warning
I'd sing out love between
My brothers and my sisters
All over this land, oh

Well, I've got a hammer
And I've got a bell
And I've got a song to sing
All over this land
It's the hammer of justice
It's the bell of freedom
It's a song about love between
My brothers and my sisters
All over this land
It's a hammer of justice
It's a bell of freedom
It's a song about love between my brothers and my sisters
All over this land 

City Of New Orleans

 "City of New Orleans" is a country folk song written by Steve Goodman (and first recorded for Goodman's self-titled 1971 album), describing a train ride from Chicago to New Orleans on the Illinois Central Railroad's City of New Orleans in bittersweet and nostalgic terms.

Goodman got the idea while traveling on the Illinois Central line for a visit to his wife's family. The song has been recorded by numerous artists in the United States, including two major hit versions: first by Arlo Guthrie in 1972, and later by Willie Nelson in 1984. In Europe, the melody has most often been used for original lyrics rather than translations of Goodman's.

An article in the September 2017 issue of Trains magazine chronicles the writing and recording of the song and includes a biographical sketch of Steve Goodman.
While at the Quiet Knight bar in Chicago, Goodman saw Arlo Guthrie, and asked to be allowed to play a song for him. Guthrie grudgingly agreed, on the condition that if Goodman bought him a beer, Guthrie would listen to him play for as long as it took to drink the beer. Goodman played "City of New Orleans", which Guthrie liked enough that he asked to record it. The song was a hit for Guthrie on his 1972 album Hobo's Lullaby, reaching #4 on the Billboard Easy Listening chart and #18 on the Hot 100 chart; it would prove to be Guthrie's only top-40 hit and one of only two he would have on the Hot 100 (the other was a severely shortened and rearranged version of his magnum opus, "Alice's Restaurant", which hit #97). In New Zealand, "City of New Orleans" spent two weeks at number one, charting throughout the winter of 1973.

Arlo's version of "The City of New Orleans" was inducted into the Grammy Hall of Fame in 2017.
In 1973, Dutch singer Gerard Cox released a Dutch-language cover entitled "'t Is weer voorbij die mooie zomer" ("It's Over Again, That Beautiful Summer"). The single reached #1 and #2 on the Dutch and Belgian record charts, respectively. The Dutch lyrics are not about a train, but are a look back on the warm days of summer. Mr Cox had based his version on a French version, Salut les amoureux by Joe Dassin, which he had heard while on holiday in France. Lyrically, it had the same subject as Cox's later Dutch version.

In 1975, Dutch singer Rudi Carrell released a German-language cover with lyrics by producer Thomas Woitkewitsch. The lyrics were based on the Dutch version (see above) by Gerard Cox. The single, "Wann wird's mal wieder richtig Sommer?" ("When Will There be a Proper Summer Again?"), stayed on the German record charts for 14 weeks, peaking at #18. This version has been widely covered, spawning German Top-40 recordings by Creme 21 and Indira Weis.

Steve Goodman won a posthumous Grammy Award for Best Country Song at the 27th Grammy Awards in 1985 for Willie Nelson's version, which was included on Nelson's 1984 album City of New Orleans. It reached #1 on both the Billboard Hot Country Singles chart in the United States and the RPM Country Tracks chart in Canada.

To download the easy alphanotes sheet music, look here. Enjoy! 

Lyrics:

Riding on the city of New Orleans
Illinois Central Monday morning rail
There are fifteen cars and fifteen restless riders
Three conductors and twenty-five sacks of mail

There all out on this southbound odyssey
And the train pulls out of Kankakee
Rolls past the houses, farms and fields
Passin' towns that have no names
And freight yards full of old black men
And the graveyards of rusted automobiles

Singin' "good morning America, how are ya?"
Saying "don't ya know me? I'm your native son"
Yes, I'm the train they call the City of New Orleans
And I'll be gone 500 miles when day is done

And I was dealing cards with the old men in the club car
And it's penny a point, there ain't no one keeping score
Won't ya past that paper bag that holds that bottle
You can feel the wheels grumbling through the floor

And the sons of Pullman porters; the sons of engineers
They ride their father's magic carpet made of steel
And mothers with the babes asleep
Go rockin' to the gentle beat
And the rhythm of the rails is all they dream

Just a-singin' "good morning America, how are ya?"
Sayin' "don't ya know me? I'm your native son"
And I'm the train they call the City of New Orleans
I'll be gone 500 miles when day is done

Nighttime on the City of New Orleans
Changing cars in Memphis, Tennessee
It's halfway home and we'll be there by morning
Through the Mississippi darkness rolling to the sea
And all the towns and people
They seem to fade into a bad dream
The old steel rails, it ain't heard the news
The conductor sings that song again
Its passengers will please refrain
This train's got the disappearing railroad blues

Just a-singin' "good night America, how are ya?"
Sayin' "don't ya know me? I'm your native son"
And I'm the train they call the City of New Orleans
I'll be gone 500 miles when the day is done

Just a-singin' "good night America, how are ya?"
Sayin' "don't ya know me? I'm your native son"
And I'm the train they call the City of New Orleans
And I'll be gone a long, long time when the day is done