Uploaded October 2020 | Updated September 2026, 6 days ago
Day 208 of the American Songbag Stay-at-Home Series
Sandburg writes: "We have heard of a man who bet he could eat two dozen raw oysters. Before putting up the money he excused himself, left the room, came back and won the bet. "But why did you leave the room?” he was asked. He replied,”I went out and ate two dozen raw oysters to make sure I could do it." Then they all joined hands and sang a tune that used to have words about Mary and her little lamb."
When dating a folk song, scholars give the earliest date the song was printed, recorded, or referred to, not when it was written. The song could have been passed down orally for generations. Sometimes there are clues within the lyrics that narrow down the origin somewhat, such as reference to an historical date or person. The Traditional Ballad Index has the earliest date as Carl Sandburg’s American Songbag 1927. This, of course, is not set in stone because an earlier source could be unearthed. But are there other clues as to the date of origin? Two, immediately come to mind:
1. MARY HAD A LITTLE LAMB can be traced back to a poem by Sarah Josepha Hale, which was published 1830. A version with music credited to Lowell Mason was published in 1831. The Traditional Ballad Index says that this poem is “Reported to be based on a true story. Which seems likely enough; who would make up something so trite?”
2. THE TIN CAN. By 1810, Englishman Peter Durand had introduced a method for sealing food in "unbreakable" tin cans. And the first commercial canning establishment in the U.S. was started in 1912 by Thomas Kensett.
So somewhere between 1831 and 1927 the world was blessed with the one joke throw-away MARY HAD A LITTLE LAMB. It’s this kind of song that Carl Sandburg loved to include in his “bag of strips, stripes, and streaks of color from nearly all ends of the earth” which he called his American Songbag.
One last thing. What actually is a 'William Goat'? The simple answer is that it is a cleaned-up name for “billy-goat” supposedly a pejorative reference to a “hillbilly.” As one who lives in Appalachia and who’s distant relatives were born here, I personally don’t mind being called a hillbilly, although my goat, if I had one, might.
Day 208 of the American Songbag Stay-at-Home Series
Sandburg writes: "We have heard of a man who bet he could eat two dozen raw oysters. Before putting up the money he excused himself, left the room, came back and won the bet. "But why did you leave the room?” he was asked. He replied,”I went out and ate two dozen raw oysters to make sure I could do it." Then they all joined hands and sang a tune that used to have words about Mary and her little lamb."
When dating a folk song, scholars give the earliest date the song was printed, recorded, or referred to, not when it was written. The song could have been passed down orally for generations. Sometimes there are clues within the lyrics that narrow down the origin somewhat, such as reference to an historical date or person. The Traditional Ballad Index has the earliest date as Carl Sandburg’s American Songbag 1927. This, of course, is not set in stone because an earlier source could be unearthed. But are there other clues as to the date of origin? Two, immediately come to mind:
1. MARY HAD A LITTLE LAMB can be traced back to a poem by Sarah Josepha Hale, which was published 1830. A version with music credited to Lowell Mason was published in 1831. The Traditional Ballad Index says that this poem is “Reported to be based on a true story. Which seems likely enough; who would make up something so trite?”
2. THE TIN CAN. By 1810, Englishman Peter Durand had introduced a method for sealing food in "unbreakable" tin cans. And the first commercial canning establishment in the U.S. was started in 1912 by Thomas Kensett.
So somewhere between 1831 and 1927 the world was blessed with the one joke throw-away MARY HAD A LITTLE LAMB. It’s this kind of song that Carl Sandburg loved to include in his “bag of strips, stripes, and streaks of color from nearly all ends of the earth” which he called his American Songbag.
One last thing. What actually is a 'William Goat'? The simple answer is that it is a cleaned-up name for “billy-goat” supposedly a pejorative reference to a “hillbilly.” As one who lives in Appalachia and who’s distant relatives were born here, I personally don’t mind being called a hillbilly, although my goat, if I had one, might.


![Dakota Land
Day 171 of the American Songbag Stay-at-Home Series
Sandburg writes: Older nations have had peasant revolts and agrarian movements and parties. The United States has had its Greenback, Populist, Nonpartisan League and Farm Bloc movements, all of them western, and in part representative of strugglers in semi-arid areas where so often the rains just gone around. A poet of those strugglers, Edwin Ford Piper, in “Barbed Wire and Wayfarers,” uses their lingo:
Run you old stiff-kneed grasshopper.
You spiral-spited jackrabbit, you!
A-ho, whoopee!
Browns Hotel were bound to see,
Swing them girls at the dance party,
One-and-twenty on a moonlight spree
A-ho, whoopee!
Whoa, Zebe, whoa!
Whoa, till I hitch you, whoa!
In a piece on The Drought, he tells how
On the whitening grass,
With bright and helpless eyes, a meadow lark
Sits open-beaked and desperately mute.
The thin, brown wheat that was too short to cut
Stands in the field; the feeble corn, breast high,
Shows yellowed leaf and tassel.
And from Pipers song collection we have a psalm of a desolate people, Dakota Land, with an air somewhat after the gospel hymn, Beulah Land.
[from the Traditional Ballad Index] Although the Dakota Land form seems to be the most common in tradition, local versions have sprouted for much of the West. Thus the Fifes lists texts for Dakota Land, Nebraska Land, and Missouri Land. Saskatchewan also follows this form, but it has been adapted enough that I think it qualifies as a separate song.
Rose Wilder Lane (daughter of Almanzo and Laura Ingalls Wilder) quotes a stanza of this on p. 6 of Laura Ingalls WIlder, On the Way Home: The Diary of a Trip from South Dakota to Mansfield, Missouri, in 1894, Harper & Row, 1962; she claims her mother and her aunt Grace sang it in the early 1890s but of course she was writing almost seventy years later. Dakota Land](https://i.ytimg.com/vi/aC7urHhynnY/mqdefault.jpg)

![The Kinkaiders
Day 170 of the American Songbag Stay-at-Home Series
Sandburg writes: These verses, from the Edwin Ford Piper collection of pioneer songs at the University of Iowa go to a melody based on Maryland, My Maryland, which in turn is based on the German song, O Tannenbaum, which in turn derived from an old Italian melody, Vittoria. The phrase out of sight in the late 1880s was slang indicating excellence or superfine quality. Homesteaders in the Nebraska sand hills sang this at old settlers’ picnics, at reunions, and political gatherings.
Song collector Louise Pound, American Ballads and Songs (1922) reports, Moses P. Kinkaid was congressman of the sixth congressional distict [of Nebraska], 1903-1919. He was the introducer of a bill for 640-acre homesteads known as the Kinkaid Homestead Law. Also known as the Kinkaid Home Act, and passed in 1904, the Act applied originally only to unsettled areas of Nebraska, and granted the land in return for five years residence and $800 in improvement. It was extended in 1909. Given that the song was collected while Kincaid (the correct spelling, according to Norm Cohen, American Folk Songs: A Regional Encyclopedia) was still in office, one wonders if this might not be a campaign song. (Robert B. Waltz in the Traditional Ballad Index.) The Kinkaiders](https://i.ytimg.com/vi/aUXPdIEz-p8/mqdefault.jpg)

![When the Chariot Comes
Day 232 of the American Songbag Stay-at-Home Series
Sandburg writes: An old-time black spiritual When the Chariot Comes [about the Rapture] was made by mountaineers into Shell Be Comin Round the Mountain, and the song spread to railroad work gangs in the midwest in the 1890s.
James J. Fuld, The Book of World-Famous Music reports that substantially this melody was in print in 1899 in Old Plantation Hymns, but the text was When the Chariot Comes. Fuld assumes the Round the Mountain lyrics are more recent (he knows of no printing before Sandburg). When the Chariot Comes](https://i.ytimg.com/vi/aeM1zO10Se4/mqdefault.jpg)
![Driving Saw Logs on the Plover
Day 248 of the American Songbag Stay-at-Home Series
Winter was the big time for work in the logging camps. The logs cut during winter were floated to the saw mills as the frozen rivers loosened up for the drive in the spring. Boys needed on the farms in summer and fall took a turn at logging in the winter. So there was plenty of argument on whether a farm hand or a shanty-boy had the better of it, in pay and cash or in favor with the girls. . . .
In M. C. Deans collection The Flying Cloud is an old song I Love My Sailor Boy, [ed. note: I can find no tune for this song, so it goes unrecorded at this time.] with a mothers advice and a daughters scorn in two verses:
Then wed a steady farmers son that whistles at the plow,
And then you will have time enough to tend both sheep and cows.
But your sailor hell carouse and drink whenever he comes on shore,
And when his money is spent and gone, hell sail the seas for more.
A fig for all your farmers sons! Such lovers I disdain.
There is not one among them dare face the raging main.
And when the winds are howling and the billows are white as snow,
Ill venture my life with the lad that dare go where stormy winds do blow.
The text and tune here were notated by Franz Rickaby from W. N. Allen of Wausau, Wisconsin. Allen composed the verses in 1873, using the tune of an old song about a mothers words to her son as he went away to the Crimean War. Driving Saw Logs on the Plover](https://i.ytimg.com/vi/afZexqeebDU/mqdefault.jpg)

![Standing on the Walls of Zion
Day 305 of the American Songbag Stay-at-Home Series
First published in Carl Sandburgs 1927 The American Songbag.
Sandburg writes: The barber shop harmonizers of midwest towns used to make up their own melodies and then mix in the words. In Galesburg [Sandburgs birthplace], boys from the Q. railroad shops, from Colton’s foundry and the Purington brickyards, would meet in front of Brown’s hotel or the Union hotel, practice with their voices as they strolled off Main Street, and then make the rounds of the ice-cream “sociables” held by various churches on a summer evening.
Some boys would find the girls they were looking for. Others stayed with the bunch and sang. One of the favorite pieces, about the time of the Chicago anarchist case [The Haymarket Square Incident, May 4, 1886], was this white man’s spiritual. Standing on the Walls of Zion](https://i.ytimg.com/vi/bLuC7v2kGdo/mqdefault.jpg)
![Capn I Believe
Day 224 of the American Songbag Stay-at-Home Series
Sandburg writes: When Tubman K. Hedrick, poet and philosopher, was a water boy on a building construction job in a Texas town, he heard blacks, going up a ladder with hods [a builders V-shaped open trough of mortar on a pole, used for carrying bricks and building supplies], chanting Capn, I believe to the bricklayers above who replied as our text indicates. It reminds us of one Pat who told one Mike, ”All I do is carry the bricks up the ladder the man on top does all the work.
Sandburg is the only reference listed in The Traditional Ballad Index. Capn I Believe](https://i.ytimg.com/vi/bdsZxan7L6Q/mqdefault.jpg)