A series of high-quality recordings of male Savannah sparrows were collected over a period of 32 years. Clara Dixon used a Nagra tape recorder to record songs from the study population extensively in 1980. Recordings in 1988–1989 were made using a Sony TCM 5000EV recorder and a Gibson parabolic microphone. Systematic recordings of breeding males were made using a Marantz PMD cassette recorder with either a Telinga Pro II or a Sennheiser ME-66 shotgun microphone (1993–1998), Sennheiser ME-66 and ME-67 microphones and a Sony MZN707 digital recorder (2003), or a Marantz PMD (670 or 660) digital recorder (2004–2011). Analog recordings were digitized using SoundEdit16 (Macromedia, San Francisco, CA, U.S.A.). Test tones from the tape recorders as well as incidental recordings of the nearby White Head Island foghorn (300 Hz) allowed us to confirm that different recording regimes did not introduce any systematic errors of timing or frequency that would compromise analysis across years. The songs of Kent Island Savannah sparrows consist of four main segments. The song opens with the ‘introduction’: a series of three to seven loud, high-frequency downswept (frequency-modulated) ‘introductory notes’, between which softer notes, such as clicks, high whistles and fast trills, may be sung, often in the form of a ‘high cluster’ immediately before or after the final introductory note. The next segment is the ‘middle’, which consists of a combination of short, loud notes; the most common of these are ‘Ch’ notes, so called because of their percussive sound, and the ‘dash’, a relatively unmodulated tonal note. The third song segment is a long (median 0.59 s) broadband ‘buzz’. The buzz is separated from the final segment, the ‘trill’, by a note essentially identical to the introductory notes. The final trill is a series of repeated tonal notes; the first note in the series often differs in phonology and frequency from the remainder of the trill. To the human ear, the middle and trill segments are the most individually distinctive portions of the song, but sonograms reveal important differences in the introduction, primarily in the pattern of softer notes falling between the introductory notes. The files in this repository include the 28 songs depicted in Figure 2 of the Animal Behaviour paper (of the total of 215 males recorded). Songs were assigned to one of five categories based on the composition of the middle segment: (1) songs with 2 Ch notes; (2) stutter songs, with more than two Ch notes; (3) dash + Ch songs, with one dash and one or two Ch notes; (4) dash + short note songs, including at least two short notes; and (5) songs with middle segments consisting of a single note (typically a Ch note in 1980–1982 and a dash thereafter). Only seven of the 215 songs in the sample did not fall into one of these categories.