2 pages with tune, chord symbols, partially written out bass parts in the key of A flat, and lyrics.

2 1/2 pages with tune and chord symbols in the key of F.

2 1/4 pages with score and part, the score includes tune, bass part, chord symbols, and lyrics. The part is for B flat horns. The piece is dated 3 February 1953, Helm, and 21 March 1953, Kees. A note at the top of the first page reads "needs verse."

1/4 page with tune, chord symbols, and lyrics. This may not be related to "Pick Up the Pieces." On the verso of this page is the title "I Want to Move to the House Next to Yours" with key and clef noted and dated 4 April 1953.

2 pages with tune, chord symbols, bass part marked for piano, and introduction. A note on the top of the first page reads "copied for copyright 1 April 1943."

1 1/4 pages with tune, chord symbols, lyrics, and introduction. A note on the top of the first page reads "music by Bob Marshall, words by Weldon Kees."

2 pages with tune, lyrics, and chord symbols. It includes edits and appears to be the first draft of the song. A note at the top of the first page reads "Hearthstone Keestone" followed by the date.

1 page music with tune and lyrics. This appears to be the final version of the song, with "Helm-Kees" noted at the top of the page.

1 1/4 pages with tune, lyrics, and chord symbols.

2 pages with tune, chord symbols, bass part, and lyrics. The verse section is dated 25 February 1953 and the chorus is dated 17 February 1953. The piece includes edits on the tune and lyrics. Notes at the top of the first page read "copied for copyright 14 April 1953" and "Helm-Kees."

2 1/4 pages with tune, lyrics, and chord symbols. It is labeled "moderato version." A note at the top of the first page reads "music by Bob Helm, lyrics by Weldon Kees." Several additional sets of chorus lyrics are written in on the bottom of the second page.

2 pages with tune, chord symbols, lyrics, and partial bass part. Includes edits to the tune and lyrics.

1/2 page with tune, chord symbols, and lyrics. A note at the tope reads "Space Tune." The verso includes bass part. The last line of music on the second page is titled "Outer Space" and dated 3 March 1953.

2 pages with tune and chord symbols.

1 1/2 pages with tune and chord symbols. A note at the top of the page reads "music by Bob Marsall and Alex Weldon, words by Alex Weldon."

2 pages with tune, chord symbols, and lyrics.

1/2 folded page with tune, chord symbols, and lyrics reading "I want to move to the house next to yours...." The second page includes the title "Southern Stomps Stomp Off" and 6 notes. The verso of the first page includes two (staves) of an untitled tune dated 27 February 1953.

1 page with tune and lyrics.

4 pages with score and two parts. The score includes tune, chord symbols, and lyrics. The two parts include one for bass and one for guitar.

1 1/4 pages with tune, chord symbols, and lyrics. The first page includes the notes that read "lead sheet" and "featuring Miss Carol Leigh, Poets' Follies,'54." The verso includes penciled notes for a performance.

2 copies of one page with tune and chord symbols and two extra choruses are handwritten on the bottom of the pages.

1 page with tune and chord symbols.

2 sheets of typed lyrics in stanzas. The first sheet includes chords written in ink above the lyrics. The notation "etc." is crossed out and replaced with "reprise" below the second and third stanza. The second sheet is a carbon copy of the first sheet with the words "additional" and "refrain" noted at the top.

2 separate pages with tune, chord symbols, and lyrics. Notes at the top of the first page read "Weldon Key" and "Helm-Kees."

2 pages with tune, chord symbols with some chord edits, and lyrics. The names "Hearthstone-Keestone" are listed in parentheses beneath the song title. A note at the top of the page reads "OSE! Red notes = changes in lead to chorus."

3 1/4 pages with score and part for guitar. There are two copies of the score with tune, chord symbols, and lyrics. The first copy includes an extra line of lyrics in the chorus and includes the note "Helm-Kees" at the top of the page.

1 1/4 pages with chorus and verse for guitar.

2 pages with tune, chord symbols, and lyrics. The second page includes additional lyrics and a note of the bottom that reads "take last 8 bars of chorus out and use lyrics from typed sheet."

3 separate pages of typed and handwritten lyrics. One of the pages includes lyrics with chords placed above the words and a second handwritten verse on the bottom of the page. The second page is the exact same lyrics without any notations. The third page includes lyrics with a handwritten note at the bottom of the page that reads "Note: performed with fast (8 beat to the bar) Boogie)."

1 page with tune, chord symbols, and partial lyrics. Notes at the top of the page include Kees' name and "transpose to B flat for Joe."

4 pages for soprano, cornets I and II, tenor, trombone, drums, lead piano, and bass.

1 page with one line of lyrics. Notes on the page read "Only for piano and guitar" and "after [...] introduce Tamara Lindovna assisted by Mr. Achridge and Mr. Wilson." A note on the back of the page reads "Mike make announcement of Berkeley date at end of show." One notecard includes a new verse for "Cure for That" with a note that reads "chorus lyrics ok as they are."

1/2 cropped page with tune, chord symbols, and lyrics.

1/4 page with tune and chord symbols

A typed list of "tunes" written by Helm and Kees. The list is separated into two sections: "ballads (pop)" and "rythm [sic], novelty and western." An "x" mark is used after the titled of a tune under section outlined across the top of the page: "lead, lyric, copw., taped, recorded." A second page appears to be an original copy of the list of pop ballads. A third page lists "Folk, Blues, and Spirituals" and "Instrumentals." This list appears to be tunes written by Kees alone.

Labeled "Helm-Kees Tunes Requiring Changes, Tinkering, or Revision"

3 typed pages each with the same date, the third page is a carbon copy of the second page. The pages include variations of the lyrics for the choruses and verse for the song. 1/4 page of sheet music with tune and lyrics.

1 page with tune and chord symbols, which is continued on the bottom of the verso. The verso also includes a tune dated 17 April 1953.

3 typed pages with chord symbols. The first two pages appear to be a work draft with the fourth ending written on the bottom of the second page in pen with pencilled edits. The third page includes the same lyrics and chord symbols, with all endings from the draft included and the last two lines of the fourth ending added in pencil.

1 page with tune, chord symbols, lyrics, and partial bass part. A note at the bottom of the page reads "Bob: Try a Charleston beat on the bridge."

1 typed page with edits and changes. Notes on the top of the page read "Lyrics by Weldon Kees, Music by Bob Helm." and "Poets Follies '56."

2 typed pages, one a carbon copy.

1 typed page with notes at the top of the page that read "For Michael Grieg's Heaven Can Wait, Lyrics by Weldon Kees" and "Music by Bob Helm."

1/4 page

1 typed page with a note at the top of the page that reads "For Bob Helm, who with great justice complained that the original words for this number are not fit for a grown man to sing."

1/4 page.

1 1/2 pages with tune, chord symbols, lyrics, and partially written-out bass.

1/4 page with a note at the top of the page that reads "slow blues tempo."

Labeled "Helm-Kees Tunes for Ketty." The folder includes a list written on the inside, which may be a play list for a show.

1 1/4 pages with tune, chord symbols, and lyrics. Notes at the top of the page read "For Ketty, Lyrics by Weldon Kees 24 March 1955" and "Music by Bob Helm 19 March 1955." On the second page there is a note about changes in the lyrics.

1 typed page with notes at the top that read "Lyrics by Weldon Kees" and "for Ketty."

A folder that includes a list of titles written on the inside.

2 1/2 pages with tune, chord symbols, and lyrics.

1 page with one line on the verso and lyrics written on the outside margins of the page.

1 page with tune and chord symbols.

1/2 page with tune, chord symbols, and lyrics.

4 pages with tune, chord symbols, lyrics, and edits that appear to be working copies.

1 1/4 pages with tune and chord symbols.

2 pages with tune, chord symbols, and lyrics, also includes written out bass and measure of bass in chorus.

2 pages with related tunes in different keys, chord symbols, and different partially written out bass parts.

1 page with tune and chord symbols.

1 1/2 pages with tune, chord symbols, and partially written out bass part. A note at the top reads "Alex Weldon."

1/4 page with tune and partial chord symbols

1/2 page with tune, chord symbols, and lyrics.

1 page with tune, chord symbols, and lyrics, with additional choruses handwritten on the bottom of the page.

1 1/2 pages of with tune, chord symbols, lyrics, and partially written-out bass.

2 pages and one additional line with tune, chord symbols, and lyrics. A note at the top of page one reads "raise to G to Ray" and "tempo di barroom." Notes at the top of page two read "Ray Higgins, Grace, Bartender, 4 girls, 4 men, first act casting, Bill wanders in" and "second chorus no retard [sic]." This item has been added to this collection, it was originally catalogued for the University Libraries as M1515 K4 D6 1954x.

2 pages with score and part for a B flat instrument. The score includes tune, chord symbols, partially written-out bass, and lyrics. A note at the top of page two reads "routine" with a bracketed list as follows: "band last 8 cho., verse vocal, chorus vocal, chorus band, patter, vocal out."

12 bars of music with chorus, verse, and patter.

9 handwritten lines on a page of sheet music.

1 page with tune and chord symbols with additional verse, and chorus lyrics written on the bottom of a page of sheet music. A note at the top of the page reads "Robin has scored as vocal."

2 pages with tune, chord symbols, and lyrics with edits. A note at the top of the page reads "Music by Don Ewell Lyrics by Weldon Kees." 1 sheet of notebook paper with handwritten lyrics with edits.

2 measures with a note at the top of the page that reads "transposed to F."

1/4 page with title of the page that reads "End of the King Porter Stomp transposed to key of B flat."

1/4 page with chord symbols and a note at the top of the page that reads "slow blues."

1 typed file card with chords added above the lyrics.

3 pages with front cover collage created by Kees.

1/2 pages.

3 pages with a note at the top that reads "slow and raggy."

3 working copy pages.

3 1/2 pages.

2 small, handwritten note pages with edits and changes. 1 page of sheet music with tune, chord symbols, a working copy with possible alternate tune.

1 page with tune and chord symbols.

1 page with tune and partial chord symbols.

1/2 page with tune, chord symbols, and partial lyrics.

1 page with tune, chord symbols, and partially written-out sheet music. Tune, lyrics, chord symbols, and chords for Spencer Williams' "Tishomingo Blues" and W.C. Hardy's "Aunt Hagar's Blues" written in Kees' hand on the verso of the sheet.

2 1/2 pages and 2 of the pages are "Holiday Rag" with the 1/2 page "Mountain Spring Blues" on the verso.

4 typed pages including a carbon copy. The music for the song was written by Fred Crews and words written by Weldon Kees.

1/2 page with tune and partial chords. The lyrics are several lines from the poem "Small Prayer" in Kees' Poems 1947-1954 published by Adrian Wilson in 1954.

2 handwritten pages with edits and changes. The second page is titled "If You Can't Pay (Tap City)."

2 lines with tune, chord symbols, and lyrics. A note at the end of the page reads "on Don't Drink the Foam transpose to G for Ray Harp accompanist."

On verso are lyrics and notes "I can't forget the way you closed your eyes..."

Two index cards with similar lyrics. One of the cards includes chord symbols added above the lyrics.

Two cards with lyrics that have "duet" noted on the top and on the bottom of each card music notes are added to the lyrics. The second card also includes the note "cue: shoulder" at the top.

Several lines on a small piece of sheet music with chord symbols, tune, and partial lyrics.

Two cards with the same set of lyric, the first card is dated Feb. 1953 and includes some edits.

18 lines of typed lyrics with some chord symbols. The verso of the card includes handwritten lyrics for the second chorus.

Two flash cards, each contains 10 lines of typed lyrics with chord symbols written in and a handwritten note beneath the title on the card reads "transposed for demonstration record."

One flash card with 10 lines of typed lyrics.

13 lines of typed lyrics for the verse of the song with chord symbols, attibuted to Helm and Kees.

14 lines of typed lyrics with chord symbols.

Dusty Walker of KABC TV writes of returning sheet music and suggests creating dubs for recording companies.

Kees writes of Lizzie Miles as the "last of the great New Orleans blues singers." Kees provides some background on his experience writing on "jazz and popular music." He writes at length about Helm and his music, his work with Turk Murphy, and his lack of recordings and wonders if Cook would be interested in making "a Helm LP." Kees inquires about a job as Cook's "part-time West Coast representative."

Kees questions Helm about his activities and asks a few questions related to his own memories from New York. He mentions places such as the Hotel President, Diamond Jim's, and "good restaurants between 7th and 8th Avenues on 45th Street." Kees updates Helm on his work with the Interplayers and creating sketches for shows using their music. He explains that the work included about 20 sketches that they planned to "try out with the actors and pare them down until the finished production is filled with bite and audacity."

Kees writes that he is working on tunes such as "Too Cool to Care" and "El Cerrito," and includes the lyrics of "El Cerrito" in the letter.

Kees tells Helm he is excited about Helm's records and sends him some materials for another session. He talks about copies of other works, such as "Coastline Rag""Holiday Rag, "and"That Wide Awake Baby of Mine." Kees writes about visits to people such as Vincent McHugh and Jesse Fuller.

On a postcard, Kees explains that he made some changes to measures of "El Cerrito" and mentions work on a sketch for the Interplayers.

Kees explains at length an idea he and actor Bill Ackridge developed for a TV show, including ideas for additional actors, musicians, dialog, and costs of this type of production. Kees suggests that the show be called "Helm's Hideaway."

Kees writes Helm that he received the test pressing of Helm's album recording done for the Riverside label. Kees states that it is the best recording Helm had done.

Kees explains his plan to provide the advance pressing of Helm's album recording to two radio stations.

Kees details his activities, such as rehearsals, writing a play, and ideas for new tunes. A postscript includes a letter from Lizzie Miles to Kees.

Five typed pages with an ink drawing of a set design and selected notes, consisting of a cast list and outlines of seven shows that Kees developed for a television show. The verso of the last page includes notes Kees wrote about entertainers, music, selling music from the show. Kees discussed the idea for a show in a letter to Helm dated 9 Nov. 1954.

An announcement advertising the opening of the "Film Workshop A Division of San Francisco Films" with Kees listed as the director. The brochure promoted a chance to learn all aspects of film production and provided a class schedule and information about the faculty, including Kees, Michael Grief, William Heick, Denver Sutton, and Ernest Edward Snazelle.

Printed flyer for a series of events to support the restoration of The Showplace "to its pre-earthquake grandeur." A show with Bay City Jazz Band, a concert by Don Ewell, and an evening of one-act plays made up the entertainment for the series.

Two copies of a flyer promoting the Poet's Follies of 1958, with Helm and the City Lights Jazz Band, plays, and poetry. The cast list includes the names, addresses, and phone numbers of individuals involved in the Follies.

A catalog for an exhibition at the New Gallery, San Francisco, California, of Kees' work titled "A Retrospective: The Paintings and Collages of Weldon Kees."

A review of two of Weldon Kees books, written by Robert Knoll, that appeared in the Prairie Schooner. The reviews were of The Ceremony and Other Stories, edited with an introduction by Dana Gioia, published by Graywolf Press, and Two Prose Sketches also with an introduction by Gioia and published by Aralia Press.