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And sad were the cries of the injured; The street with the dead were strewn.
And now for the moral:
We cannot explain this disaster, We know not what fate may befall;
And we should be ready each hour To answer the Master's call.
They're all like that.
You may, for instance, have seen only calamity in the Mississippi flood. But there was more to it than that. Lest you missed the lesson, may I call on Mr. Robison again?
We can't explain the reason these great disasters come But we must all remember to say, "Thy Will Be Done." And tho' the good may suffer for other people's sins There is a crown awaiting where Eternal Life begins.
Of course it is very easy to sit on the sidelines, a carping critic, and point out that the wedding of "done" and "come" would not be sanctioned by any rhyming dictionary. Nor, for that matter, do "town" and "ground" match very happily in The Miami Storm. But for such objections there is a ready explanation.
"You mustn't make them too good," says Robison. "The boys of Tin Pan Alley tried to crash this new market as soon as they realized that it was rich in possibilities, but they've failed so far because their stuff was too up-to-date and too neat and trim."
It is a bit difficult to compare the popularity of these hillbilly tunes with that of popular numbers such as Coquette or Baby's Awake Now. The "popular" songs sell up into the millions during their brief reign; these other songs are like sugar in the grocery store—they sell steadily through the years.
"We don't know yet what can be fairly termed the 'life' of such numbers," Robison told me. "Records we made in 1924 are still selling steadily."
He showed me a statement from one company out of an