Uploaded August 2020 | Updated September 2026, 6 days ago
Day 159 of the American Songbag Stay-at-Home Series
Sandburg writes: "In Duluth, Minnesota, I heard Margaret Moore Nye, of a Richmond, Virginia, family, deliver this spiritual as she heard it in the kitchen of her girlhood home. She seated herself in a chair, crossed her knees, threw her head back, closed her eyes, patted the time with a foot, impersonating the nanny in Richmond from whose lips she heard it many years."
This was first published in 1927 by Sandburg in the American Songbag. In 1928 Vance Randolph published a text titled "Oh You Cant Go to Heaven", which is remarkably similar to "Ain’t Gonna Grieve My Lord No More" which has been most widely known since at least the mid 20th century as a call & response children’s camp song and is the same tune as the Sandburg song. However, early versions of this song point to its origin in the late 19th century or the early 20th century as an African American Gospel song. Over the years this serious, religious African American Gospel song has turned into a humorous song. (You can find my recording of the humorous version youtu.be/zz64crWz9Ns.)
Day 159 of the American Songbag Stay-at-Home Series
Sandburg writes: "In Duluth, Minnesota, I heard Margaret Moore Nye, of a Richmond, Virginia, family, deliver this spiritual as she heard it in the kitchen of her girlhood home. She seated herself in a chair, crossed her knees, threw her head back, closed her eyes, patted the time with a foot, impersonating the nanny in Richmond from whose lips she heard it many years."
This was first published in 1927 by Sandburg in the American Songbag. In 1928 Vance Randolph published a text titled "Oh You Cant Go to Heaven", which is remarkably similar to "Ain’t Gonna Grieve My Lord No More" which has been most widely known since at least the mid 20th century as a call & response children’s camp song and is the same tune as the Sandburg song. However, early versions of this song point to its origin in the late 19th century or the early 20th century as an African American Gospel song. Over the years this serious, religious African American Gospel song has turned into a humorous song. (You can find my recording of the humorous version youtu.be/zz64crWz9Ns.)



![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)