for television, Sandburg's Lincoln (1974). He recorded excerpts from the biography and some of Lincoln's speeches for Caedmon Records in New York City in May 1957. He was awarded a Grammy Award in 1959 for Best Performance – Documentary Or Spoken Word (Other Than Comedy) for his recording of Aaron Copland's Lincoln Portrait with the New York Philharmonic. Some historians suggest more Americans learned about Lincoln from Sandburg than from any other source. The books garnered critical praise and attention for Sandburg, including the 1940 Pulitzer Prize for History for the four-volume The War Years. But Sandburg's works on Lincoln also received substantial criticism. William E. Barton, who had published a Lincoln biography in 1925, wrote that Sandburg's book "is not history, is not even biography" because of its lack of original research and uncritical use of evidence, but Barton nevertheless thought it was "real literature and a delightful and important contribution to the ever-lengthening shelf of really good books about Lincoln." Historian Milo Milton Quaife criticized Sandburg for not documenting his sources and questioned the accuracy of The Prairie Years, noting they contain a number of factual errors. Others have complained The Prairie Years and The War Years contain too much material that is neither biography nor history, saying the books are instead "sentimental poeticizing" by Sandburg. Sandburg himself may have viewed his works more as an American epic than as a mere biography, a view also mirrored by other reviewers. Folk music Sandburg's 1927 anthology the American Songbag enjoyed enormous popularity, going through many editions; and Sandburg himself was perhaps the first American urban folk singer, accompanying himself on solo guitar at lectures and poetry recitals, and in recordings, long before the first or the second folk revival movements (of the 1940s and 1960s, respectively). According to the musicologist Judith Tick: As a populist poet, Sandburg bestowed a powerful dignity on what the '20s called the "American scene" in a book he called a "ragbag of stripes and streaks of color from nearly all ends of the earth ... rich with the diversity of the United States." Reviewed widely in journals ranging from the New Masses to Modern Music, the American Songbag influenced a number of musicians. Pete Seeger, who calls it a "landmark", saw it "almost as soon as it came out." The composer Elie Siegmeister took it to Paris with him in 1927, and he and