THE ART MOB PRESENTS: “THE MOB’S GREATEST HITS”

Our Motto: “We Call the Tune”

1. Africa (Words by Isaac Watts, 1709; music by William Billings, 1770, from “The Sacred Harp”).

2. Come Where My Love Lies Dreaming (Stephen Foster, 1855).

3. Mariner’s Anthem (William Billings, 1746-1800, text from Psalm 107).

4. Nice Work if You Can Get It (Words by Ira Gershwin, music by George Gershwin, 1937. Ira Gershwin Music/George Gershwin Music/WB Music Corp. - ASCAP. Arranged by Frank Lindquist).

5. David’s Lamentation (William Billings, 1778, from “The Sacred Harp”).

6. Rolling in My Sweet Baby’s Arms (Roy Acuff. Acuff - Rose Music Inc. - BMI. Arranged by Frank Lindquist).

7. Come Home, Father (or “The Song of Little Mary,” by Henry Clay Work, c. 1854. Arranged by Connie Beckley).

8. One Sweetly Solemn Thought ( M. L. Bartlett, courtesy C. F. Leslie & Co., 1882).

9. Just a Little Talk with Jesus (Cleavant Derricks, 1937. Stamps-Baxter Music Co., administered by Brentwood-Benson Music Group, Inc. - BMI).

10. I Will Guide Thee (Trad./Helen Schneyer. Transcribed by Frank Lindquist from “Ballads, Broadsides and Hymns,” Folk Legacy Records. Used by permission.).

11. Teddy Bears’ Picnic (Words by James Kennedy, music by John Bratton, 1914. WB Music Corp. - ASCAP. Arranged by Frank Lindquist).

12. The Rabbit, or the Advantages of Being Small (Ferrari, a mid-19th century Italian singing teacher who lived in London).

13. Cooking Breakfast for the One I Love (Billy Rose and Henry Tobias, 1920. WB Music Corp./EMI Robbins Catalog Inc. - ASCAP. Arranged by Frank Lindquist)

14. Cruisin’ in My Model T (John Hill, 1949. Administered by SPEBSQSA, Inc.).

15. Eskimo Rag (Words by Jean C. Havez, music by George Botsford, from Songs for Men, Book 2, published by the Society for the Preservation and Encouragement of the Barber Shop Quartet Singing in America, Inc., 1912. Arranged by Dean Rainey).

16. Evening Shade (Words by John Leland, 1792, music by Stephen Jenks, 1805, from “The Sacred Harp”).

17. The Better Land (Words and music by O. A. Parris, 1935, from “The Sacred Harp”). Under The Daisies (Millard, 19th cent. Arranged by Frank Lindquist).

18. Vital Spark of Heavenly Flame (Words by Alexander Pope, from the seven-shape tunebook “Sacred Melodeon,” 1867. Transcribed by Connie Beckley).

19. An Emigrant’s Song (Words by Mrs. Newton Crossland, music by Walter Cecil MacFarren, from “The Glee Hive,” 1853).

20. Peace and Joy (Words by John Bowring 1825, music by Paine Denson, 1959, from “The Sacred Harp”).

21. Blessed are the Peacemakers (William Bradbury, text from the Beatitudes, from “The Jubilee,” 1858.).

22. The Bill of Fare (Launce Knight and Carl Zollner, from The Cyclone of Song, published by Chicago Music Company, 1888. Arranged by C. E. Leslie)

#'s 4, 6, 11, 13, 18 arranged by Frank Lindquist
#7 arranged by Connie Beckley
# 15 arranged by Dean Rainey
# 23 arranged by C. E. Leslie
# 10 transcribed by Frank Lindquist from "Ballads, Broadsides and Hymns," Folk Legacy Records. Used by permission.
# 19 transcribed by Connie Beckley

Special Thanks: The Church of the Ascension, Dennis Keene, Denise Kelly, Tom Barr and the Society for the Preservation and Encouragement of the Barber Shop Quartet Singing in America, Inc.
Recorded by Jorge Alfano at The Church of the Ascension Parish Hall, NYC.
CD Mastering by Vivian Stoll.
Graphics with the assistance of Gwen Deely.
Cover: music from a page of the 1858 edition of William Bradbury's "The Jubilee".

Produced by The Art Mob, Inc.
©1997 The Art Mob, Inc.

The Mob (this recording):

Da Don (a.k.a. Music Director): Frank “The Swede” Lindquist
Da Capa (a.k.a. Assistant M.D.): Connie “Bang-Bang” Beckley
Top Guns (Sopranos): Connie Beckley, Anna Connard, Barbara Niblock, Vicki Watson
Shivs (Altos): Gaynor Coté, Martha Giardina, Betty Harris, Marcia Tucker
Silencers (Tenors): Frank Chaney, Frank Donno, Dean McNeil
Cement Shoemakers (Basses): Brian Minahan, Dean Rainey, Barry Talesnick

The Art Mob’s life of organized musical crime began in 1979 when a group of non-professional singers from New York City, mostly working in the arts, decided to face the music together, taking their moniker from “The Art Mob and the Collector,”* a song by artist and songwriter Terry Allen. The Mob has been killing its audiences (with kindness) since then by performing a cappella works culled from old hymnals, vintage 19th century songbooks, radio gospel pamphlets, and assorted sheet music found in the Family attic.

*Terry Allen, “Lubbock on Everything,” 1978, Fate Records