Uploaded July 2020 | Updated September 2026, 6 days ago
Day 137 of the American Songbag Stay-at-Home Series
Sandburg writes: "A fast train, such as "The. Midnight Special," means a getaway, outside air, freedom. They sing about it in the Houston,Texas, jailhouse and elsewhere. The verses here can with little or no practice be adjusted to the tune of Midnight Special (1) in our folio of Dramas and Portraits."
From the Traditional Ballad Index: "I seem to recall a legend that, should the light of the Midnight Special shine on a convict, he would soon be freed. I can'r remember where I heard this, though. I've more recently found this mentioned in Sing Out magazine, Volume 37, #2 (1992), pp, 54, but I'm sure I heard it somewhere else. That issue of Sing Out refers to another legend, in which highly favored convicts were allowed visits from prostitutes brought in on a special train. (The problem with this, of course, is that someone had to pay the prostitutes, so I rather doubt it.)
"Carl Sandburg, on the other hand, believes that the song refers to suicide: That the convict would rather be dead under the wheels of the train than spend another twenty years in prison." (RBW)
Day 137 of the American Songbag Stay-at-Home Series
Sandburg writes: "A fast train, such as "The. Midnight Special," means a getaway, outside air, freedom. They sing about it in the Houston,Texas, jailhouse and elsewhere. The verses here can with little or no practice be adjusted to the tune of Midnight Special (1) in our folio of Dramas and Portraits."
From the Traditional Ballad Index: "I seem to recall a legend that, should the light of the Midnight Special shine on a convict, he would soon be freed. I can'r remember where I heard this, though. I've more recently found this mentioned in Sing Out magazine, Volume 37, #2 (1992), pp, 54, but I'm sure I heard it somewhere else. That issue of Sing Out refers to another legend, in which highly favored convicts were allowed visits from prostitutes brought in on a special train. (The problem with this, of course, is that someone had to pay the prostitutes, so I rather doubt it.)
"Carl Sandburg, on the other hand, believes that the song refers to suicide: That the convict would rather be dead under the wheels of the train than spend another twenty years in prison." (RBW)









![You Fight On
Day 158 of the American Songbag Stay-at-Home Series
By my reckoning, we pass the halfway mark through Carl Sandburgs American Songbag. Another 157 songs to go. Cowboy songs, Mexican border songs, southern mountain songs, what Sandburg calls Darn Fool Ditties, railroad, lumberjack, and sailor songs, as well as bandit biographies, war songs, and spirituals.
Sandburg writes: Brave counsel and spacious melody for a pilgrims progress. ... A North Carolina woman at Purdue University heard this for years as a girl from a black woman cook in her home. Often when I was in the kitchen she would say to me, Come on, Miss Mary, get on de tune wagon, you aint on de tune wagon.
(from the Traditional Ballad Index) This appears to me to be based very loosely on Matt. 18:15: If a brother sins [against you], bring it to his attention when the two of you are alone. Note: the words against you are omitted by the two oldest manuscripts. RBW
Personally, I think the song combines the sentiment of Matthew 18:15 and of 2 Corinthians 10:4. Pray for peace, be prepared to fight evil.
MORE ON THE AMERICAN SONGBAG WHILE AT THE HALFWAY MARK
In 1920 Carl Sandburg (poet, journalist, and lecturer) was becoming a literary celebrity. His guitar and repertoire of songs provided a popular finale to his lecture-recitals. After each lecture, someone came up to offer new songs, or variants on those he had just sung. Sandburg would transcribe them in his own makeshift notation system, and jot down the lyrics in his pocket notebook.
Sandburg said, This whole thing is only in its beginning, America knowing its songs.”
For Sandburg, …he was discovering the American tongue in songs as well as speech,…Sandburg explored the American character and promise. He sang its history and diversity in the ever-growing repertoire of folk music.
Everywhere he lectured people flocked to him with songs. Anonymous Americans sent him songs, as did musicologists, folklorists, and friends. Robert Frost, H. L. Mencken, Sherwood Anderson, to name a few.
As Sandburg sang and lectured his way around the United States and back again, his musical ragbag filled to overflowing with country songs, prairie songs, war songs, jail songs, songs of love and cities and death and nonsense. He is the last of the troubadours, the last of the nomad artists who hunted out the songs people made up, and then sang them back to the people like a revelation .... Both his singing and his search for songs are part of his belief in the essential merit of the common man.
His comment, to the publisher when the book was completed, ”I’m glad you think it looks something like a songbook as it now stands. In the jib, the boom and the peep, it aint such a bad songbook; there have been many worse.
The American Songbag was certainly a major contribution to American Music. Contemporary recording artist Dan Zanes says, “The thing I got a sense of right away was in those twenty-four chapters, Sandburg was really trying to cast a wide net. I’m somewhat familiar with a lot of the books that came out prior to the American Songbag but I’ve never seen anything that tries to be inclusive as the Songbag was in 1927.”
And Pete Seeger once said, “You might say it was a people’s education about the United States of America. What they taught in school was rather formal. [You learned the facts,] but you didn’t get the stories behind all this. And these songs gave you the stories.
(info from Penelope Nivens biography of Sandburg, as well as from the documentary The Day Carl Sandburg Died.) You Fight On](https://i.ytimg.com/vi/fCGxFyLsM9E/mqdefault.jpg)
![A War Birds Burlesque
Day 271 of the American Songbag Stay-at-Home Series
First published in Carl Sandburgs The American Songbag.
Sandburg writes: In that revealing and vivid diary “War Birds: Diary of an Unknown Aviator (Williams-Ford Texas A&M University Military History Series) by John MacGavock Grider,” we learn of a flyer in World War I whose father was a cotton mill owner and, as the diarist tells us, “There was a bomb raid on last night and the dugout was stuffy so he and I went out and crawled under a box car on the siding. It’s about as good shelter as you can get. We got to talking about home.
I asked him what he wanted to do. He said he wanted to write but his father is determined to make a horny-handed hardboiled superintendent out of him. He’s all the time scribbling now. He’s always stopping something important to jot down a plot, as he calls it, for future reference. He’s got a brief case full of them already,— plays, short stories, poems, sketches or what have you. He’s tried to read me some of them several times. ” He lost one eye, was wounded, battered, made all sacrifices asked. In an interlude of the program of hell and death, he had an affair “with a very charming young lady who more or less owed allegiance to a big diplomat. We were all kidding him about it one night and after listening awhile he retired and penned a poem [A War Birds Burlesque] on the subject. . .
Nine of the verses are presented here with the melody given them by Chicago overseas service men, Paul Boston and John Locke. A War Birds Burlesque](https://i.ytimg.com/vi/fFV2FA2RtcA/mqdefault.jpg)