Recording of Rune Lindblad's Party.

Recording of Julio Roloff's, Quintaesencia. This piece features a wide ambience of frequencies, Roland piano improv, and electronically produced sounds. The frequent changes in energy and direction allow for free flowing ambient sections and intense section with strict rhythm.

Recording of Otto Luening's Poem in Cycles and Bells.

Recording of Otto Luening's Rhapsodic Variations.

Recording of Otto Luening's Invention in 12 Notes.

The work is made around tape recordings of Luening's improvisations on the flute. The flute recordings were transposed through change of tape playback speed and transformed through "tape recorder feedback".

This is another in a series of pieces Luening made by recording himself playing flute, and then while listening on earphones, taped a second flute part over the first, and so forth.

Audio recording of Donald E. Chipman interviewing with Lamar Hunt. Hunt was the principal founder of the American Football League (AFL) and Major League Soccer (MLS). He was also the founder and owner of the Kansas City Chiefs (formerly known as Dallas Texans). Hunt passed away on December 13, 2006.

Recording of John Gilliland interviewing Patti Page and Jack Rael on the KCUL House of Wax program in Fort Worth. Gilliland later used this audio in the Pop Chronicles radio program series. The interview is in tracks 1 through 5, with unrelated material on the tape before and after.

Interview with Nat "King" Cole by a Voice of America interviewer identified as Walter. The mention of Cole's NBC television show narrows the possible date range to 1956 or 1957.

Recording of John Gilliland interviewing Tony Bennett in Fort Worth, Texas. Gilliland later used this recording in the Pop Chronicles radio program series.

Recording of Bor Turel's Sonotranjosti.

Recording of The Orchestra of Washington, D.C., likely with singer Jack Maggio. The band plays selections that also appear on their lone full-length album, Willis Conover's House of Sounds Presents THE Orchestra, including "Willis" (written for Willis Conover), and "Light Green."

Recording of a radio program by Willis Conover, featuring recorded selections by The Orchestra of Washington, D.C. Following the theme song, "Early Autumn," the program includes "Roundhouse," "Don't Worry 'Bout Me" (Lea Matthews, vocals), "Light Green," and "Don't Blame Me" (featuring trombonist Earl Swope).

Continuation of a radio program by Willis Conover, featuring recorded selections by The Orchestra of Washington, D.C, including "Tiny's Blues," "I Cover the Waterfront" (Jack Maggio, vocals), "Not Really the Blues," "Early Autumn" (program theme), and comments by Conover.

Recording of Pierre Schaeffer's Orphée 53.

The Orchestra of Washington, D.C., as heard on Willis Conover's radio program.

Recording of Hugh Le Caine's Invocation. The piece opens with a trio of three recorded sounds: a glass that is broken with a hammer, a ping-pong ball hitting a racket, and a drop of water. These sounds are the "instruments" used throughout the piece. Drips are configured as fast ascending and descending glissandi. A series of chords is constructed from a sustained movement of glass stamps. The sound of the ping-pong ball - from the left to the right - gradually accelerates. Severe rumbling and sharp joints appears as sudden changes in channels multiply. The introduction of these gestures disrupts the orderly progression of loops and the inclusion of small strips of paper connected to the ribbon which produces rough and jerky sounds further accentuate this breaking effect. Towards the end of the piece, sustained sounds are played out in a chord, but as soon as this effect is installed, the tape slows down and stops, as if someone had unplugged the music player. Then we hear a particularly violent sound of glass breaking.

Recording of Hugh le Caine's Ninety nine Generators. The title refers to the 99 organ sound generators sensitive keys - a separate generator for each note of the keyboard that can all be operated simultaneously. Le Caine here uses a resonance pedal and a device that can change the pitch to produce a vibrato or long glissandi impossible to achieve on an organ. The particular reverb of this piece is caused by the unusual acoustics of the place where it was realized.

Recording of Hugh le Caine's Dripsody. It is an study for variable speed recorder. It was composed in one night. Le Caine used a recording of a drop of water falling into a bucket, which he re- recorded different speeds, obtaining the heights of a pentatonic scale. Using 25 connectors and the variable speed tape recorder, it produced thousands of sound effects. Dripsody begins with the original sound of the water drop, repetition loop. Shortly afterwards, by adding more loops, the density of the sound increases and an arpeggio figure is produced. The complete work, lasting one minute and twenty-six seconds, was finished at 7.30 am, and Le Caine played it for those who arrived at the laboratory.

Recording of Włodzimierz Kotoński's Etude pour un seul coup de cymbale.

This episode of News Close-Up offers "a preview of July, 1960," in a program about U.S. politics and the upcoming presidential election.

The music of Danny Kaye is featured in a program apparently broadcast by the Voice of America's Yugoslav Service.

Interviews with area citizens and speeches of prominent guest speakers, including Allen Shivers, governor, and Tommy Cook, president of Texas Junior Chamber of Commerce. Also, a recording of Edward R. Murrow's radio broadcast of "I can hear it now", recorded July 4, 1953 from station KREL, Baytown, TX.