Panoramic in scope, the songs--45 in all--coupled with the works of art from The Metropolitan Museum of Art and the Buffalo Bill Historical Center, reflect every facet of life during one of the most exciting periods in our nation's history. Featured works include paintings and sculpture by Frederic Remington, Charles M. Russell, Georgia O'Keeffe, and others. Full color.

From "Oh, Suzanna" to "Buffalo Gals," children will sing, dance, and learn with these songs about the legendary Wild West. The CD is accompanied by a book with over 250 activities that teach children about colors, creativity, and cowboys and cowgirls. Each of the eight CD/book combinations will provide hours of learning fun. 128 pages plus CD.

Cowboy Songs and Other Frontier Ballads. Over 150 Authentic Songs of the Wild West. Western music originated as a form of American folk music. It was originally composed by and about the people who settled and worked throughout the Western United States and Western Canada. Directly related musically to old English, Scottish, and Irish folk ballads, Western music celebrates the life of the cowboy on the open ranges and prairies of Western North America. This unique publication contains 153 Original songs, some with music, from the American Wild West including; Billy the Kid; Bob Stanford; Bonnie Black Bess; Brigham Young; Buena Vista Battlefield; Buffalo Hunters; California Trail; Cowboy at Church, The; Deserted Adobe, The; Down South on the Rio Grande; Dying Cowboy, The; Hell in Texas; I'm a Good Old Rebel; Jim Farrow; Jolly Cowboy, The; Kansas Line, The; Lone Buffalo Hunter, The; McCaffie's Confession; Mississippi Girls; Night-Herding Song; Only a Cowboy; Pecos Queen, The; Poor Lonesome Cowboy; Prisoner for Life, A; Rattlesnake-A Ranch Haying Song; Root Hog or Die; Sioux Indians; Utah Carroll Classics all.

Presents ninety-two songs of the American West, each with lyrics, a vocal score, simple piano arrangements, and chord symbols, and includes historical notes and commentaries, and over one hundred period illustrations.

Many associate early western music with the likes of Roy Rogers and Gene Autry, but America’s first western music craze predates these “singing cowboys” by decades. Written by Tin Pan Alley songsters in the era before radio, the first popular cowboy and Indian songs circulated as piano sheet music and as cylinder and disc recordings played on wind-up talking machines. The colorful fantasies of western life depicted in these songs capitalized on popular fascination with the West stoked by Buffalo Bill’s Wild West shows, Owen Wister’s novel The Virginian, and Edwin S. Porter’s film The Great Train Robbery. The talking machine music industry, centered in New York City, used state-of-the-art recording and printing technology to produce and advertise songs about the American West. Talking Machine West brings together for the first time the variety of cowboy, cowgirl, and Indian music recorded and sold for mass consumption between 1902 and 1918. In the book’s introductory chapters, Michael A. Amundson explains how this music reflected the nostalgic passing of the Indian and the frontier while incorporating modern ragtime music and the racial attitudes of Jim Crow America. Hardly Old West ditties, the songs gave voice to changing ideas about Indians and assimilation, cowboys, the frontier, the rise of the New Woman, and ethnic and racial equality. In the book’s second part, a chronological catalogue of fifty-four western recordings provides the full lyrics and history of each song and reproduces in full color the cover art of extant period sheet music. Each entry also describes the song’s composer(s), lyricist(s), and sheet music illustrator and directs readers to online digitized recordings of each song. Gorgeously illustrated throughout, this book is as entertaining as it is informative, offering the first comprehensive account of popular western recorded music in its earliest form.

The Book of Eador, Abjurations 12:14, is very clear: Suffer ye not the life of a witch. For a thousand years, the Church Knights have obeyed that commandment, sending to the stake anyone who can hear the songs of the earth. There are no exceptions, not even for one of their own. Novice Knight Gair can hear music no one else can, beautiful, terrible music: music with power. In the Holy City, that can mean only one thing: death by fire—until an unlikely intervention gives him a chance to flee the city and escape the flames. With the Church Knights and their witchfinder hot on his heels, Gair hasn't time to learn how to use the power growing inside him, but if he doesn't master it, that power will tear him apart. His only hope is the secretive Guardians of the Veil, though centuries of persecution have almost destroyed their Order, and the few Guardians left have troubles of their own. For the Veil between worlds is weakening, and behind it, the Hidden Kingdom, ever-hungry for dominion over the daylight realm, is stirring. Though he is far from ready, Gair will find himself fighting for his own life, for everyone within the Order of the Veil, and for the woman he has come to love. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.