The History Book Club discussion

This was a request from a group member.



This thread will discuss War Time Music (this can be military related music, music about a war, music that was popular during any war, marches, morale enhancing music for the troops, any time period, any country, etc.

Always if you can also add the link so that we can hear the music you are posting about. And tell us the story and the relevance of each add so that we can learn from you.

From Time Magazine:

Music During Wartime
By Christopher John Farley Tuesday, Oct. 02, 2001

At first, music seemed irrelevant. Not long after the September 11th terrorist attacks, MTV interrupted its scheduled programming to broadcast live news feeds. Record stores in New York City closed. Music sales around the country, which had been slow anyway, dipped about five percent. Several artists, including the rapper DMX, pushed back their album release dates. Marc Anthony, the pop/salsa singer, dropped plans to promote his latest single, a song about heartbreak that was written before the events. The song's mistimed title: Tragedy.

But pop music is far from irrelevant. In fact, war and music have always had an intimate bond. One of the greatest poems of all time, The Iliad, is essentially an epic song about war.

As the first line goes: Rage Goddess, sing the rage of Peleus son Achilles/ murderous, doomed, that cost the Achaeans countless losses.

America's Civil War produced its share of popular compositions, from the war songs of the North (The Battle Hymn of the Republic and All Quiet Along the Potomac Tonight) to the fighting odes of the South (Oh I'm a Good Old Rebel).

Civil War-era songs such as When This Cruel War Is Over(1863) still have a melancholy resonance even today: Weeping, sad and lonely, hopes and fears, how vain!/ When this cruel war is over praying then to meet again/ When the summer breeze is sighing, mournfully along/ Or when autumn leaves are falling, sadly breathes this song.

Far from being besides the point, such songs had the power to soothe and uplift at a time when the nation was literally coming apart. Of course, some of the songs favored by the South sound misguided and tragic. I hates the Constitution/ This great Republic too/ I hates the Freedmen's Buro/ In uniforms of blue, go the lyrics to Oh I'm a Good Old Rebel.

The Vietnam War helped combine music with images. It's hard to hear The Doors mournful song The End and not think about the explosive, nightmarish opening images of Francis Ford Coppola's Apocalypse Now.

That war, and its aftermath, helped spawn a number of songs, from Marvin Gaye's What's Going On, a plea for peace and understanding, to Bruce Springsteen's Born in the U.S.A., which explored the pain and confusion of a returning war veteran: Got in a little hometown jam so they put a rifle in my hand/ Sent me off to a foreign land to go and kill the yellow man. Born in the U.S.A.was famously misinterpreted by some as a jingoistic bit of patriotism; in fact, it is a patriotic song, but one that understands that true patriotism isn't just about fighting battles abroad, it's also about taking care of those in need at home as well. Some of today's contemporary songs are already being reinterpreted by listeners looking for some solace in music. Sometime the artists themselves are doing the repurposing. Springsteen kicked off the recent telethon America: A Tribute to Heroes with the song My City of Ruins. "This is a prayer for our fallen brothers and sisters," Springsteen said before launching into the song. The song's imagery of waste and destruction, and its gospelly chorus of C'mon rise up! made it seem as if it was specifically written about the recent attacks. It was actually composed about Springsteen's hometown in New Jersey.

Bono recently helped gather a number of young pop performers together (including Alicia Keys and Destiny's Child) for an all-star remake of Marvin Gaye's What's Going On. The remake was aimed at raising money for AIDS charities; after the attacks, images of the World Trade Center were including in the video to make it more relevant to the current mood.

A tribute to slain Beatle John Lennon in New York City scheduled for October 2 — Come Together: a Night of John Lennon's Words & Music — was reconceived to become a tribute to Lennon, New York City and victims of the terrorist attacks.

Other artists however, have been creating songs or planning concerts specifically tailored to deal with recent events. Michael Jackson is working on What More Can I Give, another We Are the World all-star type anthem. Ex- Beatle Paul McCartney will headline a benefit concert later this month. Ricky Martin, Gloria Estefan, Marc Anthony, Shakira and other stars have recorded El Ultimo Adios (The Last Goodbye), a single to benefit the American Red Cross and the United Way.

Conflict may make some entertainment superfluous, but it also helps make some great art possible, from Bob Marley's anthemic song War to Kurt Vonnegut's novel Slaughterhouse Five to Picasso's masterpiece Guernica.

Many mere entertainers — the teen pop idols, the nihilistic gangsta rappers, the amoral hard rockers — will no doubt have to (at least temporarily) rethink their relevance in the light of recent events. Do we need to hear DMX's violent boasts when there's so much violence on TV? Is there any point in enduring Slipknot's horror metal assault when real life is already dealing us blow after blow? But distractions do have their place. During World War II, trombonist, arranger and band leader Glenn Miller toured around England entertaining the troops — and ultimately gave his life for it when his plane was lost over the English Channel in 1944.

His contributions were seen as an important part of the war effort; the support of contemporary entertainers may come to be viewed in the same light. So don't look for pure entertainment to fade away. Though specific artists may become afterthoughts, music will not. Eric B. and Rakim, with their Gulf War song Casualties of War (1992) showed that hip-hop was big enough and smart enough to address topics like international conflict. Hopefully, we'll see a new generation of artists, challenged by history, rise to the task of writing music that captures the themes of the day. Bob Dylan did it with Masters of War. The Clash did it with albums like Sandinista! and Combat Rock. The political-minded hip-hop metal band Rage Against the Machine was a lonely voice of relevance in the 90s. The new millennium may produce rock, rap and pop that's equal to the times.

Read more:

This is the good ole Confederate Song from the Civil War era:

I'm a Good Ol' Rebel





This one does seem tragic and misguided as Time Magazine indicated -

From the article of Time Magazine - "Of course, some of the songs favored by the South sound misguided and tragic". I hates the Constitution/ This great Republic too/ I hates the Freedmen's Buro/ In uniforms of blue, go the lyrics to Oh I'm a Good Old Rebel.

THE BATTLE CRY OF FREEDOM - Tom Roush



This song is dedicated to the colored regiments and common foot soldiers that served in the Union army during the Civil War. Unlike the Generals and officers, these souls were the unsung heroes who never got much credit for helping to win the war.

Born in the USA - Bruce Springsteen (Vietnam)



"Born in the U.S.A." is a 1984 song written and performed by Bruce Springsteen. Taken from the album of the same name, it is one of his best-known singles. Rolling Stone ranked the song 275th on their list of "The 500 Greatest Songs of All Time". In 2001, the RIAA's Songs of the Century placed the song 59th (out of 365). Lyrically, the song deals with the negative effects of the Vietnam War on Americans, but is often misunderstood to be a patriotic or nationalistic anthem.

This one was in London and the crowd is outshouting Bruce:



In Australia:



In Belfast:



In Cork:



In Paris - 85:

Born In The USA - Bruce Springsteen Paris 85

Boogie Woogie Bugle Boy by the Andrew Sisters - World War II



Here is the link to the video:

“Over There” was the ultimate rah-rah American war song. It had a march rhythm, a military brass accompaniment, a rousing chorus, and patriotic lyrics. But “Over There” was World War I’s song. In 1942, US government propaganda flacks decided World War II needed a theme song of its own.

It turned out the government was better at managing a war than cajoling songsmiths, and after more than three years of wartime songwriting, World War II still did not have its own “Over There.” But one song did turn up that still says “World War II” probably more than any other: “Boogie Woogie Bugle Boy.” It didn’t have the serious purpose the government sought, but judging from all the jitterbugging it inspired, it did lift morale.

“Boogie Woogie Bugle Boy” is an upbeat ditty about a fictional famous trumpeter from Chicago who gets drafted into the army and becomes his company’s bugler. It turns out, however, that he can’t play a lick without a band behind him. So a sympathetic captain transfers in some hip players, and from then on, Company B swings into its daily routines.

The Andrews Sisters made the song famous when they performed it in the 1940 Abbott and Costello movie Buck Privates. The tune begins on the silver screen with a solo trumpeter opening “Reveille” jazz style, before a piano enters with a boogie woogie bass vamp. Dressed in military uniforms and sitting on barstools drinking malts, the sisters stand up and start singing their inimitable close harmonies (notes near enough to grab with one hand on a piano). At the Academy Awards the following spring, “Boogie Woogie Bugle Boy” won the Oscar for Best Song.

Born to a Greek immigrant father and Norwegian-American mother who ran a restaurant in Minneapolis, the Andrews Sisters had begun singing together as kids in the 1920s. In 1937, they cut the first record by a female group to sell a million copies, and by 1940 every American knew who they were. After America entered the war in December 1941, the trio traveled all over the states and overseas to perform for GIs, and helped found the Hollywood Canteen to entertain servicemen in or passing through southern California.

By the time they retired from singing professionally, the Andrews Sisters had become the most successful female vocal group in history to that point, recording some 600 tunes that sold 75 million to 100 million records. When the Vocal Group Hall of Fame opened in Sharon, Pennsylvania, in 1998, they were among the original inductees.

“Boogie Woogie Bugle Boy” remains their signature song and was voted number 6 of 365 on the 2001 list Songs of the Century.

(Source: and Youtube)

Dame Vera Lynn was the musical voice of Britain during WWII. Her songs kept up morale and she entertained the British troops all over the world during the war. She is still living at age 96 and has received many honors from her country.



We'll Meet Again



There'll Always Be An England

One of the great military marches is Garry Owen, the song of the US 7th Cavalry. This film clip, historically completely wrong, is from the 1941 film They Died With Their Boots On, a film which is also historically completely wrong. But it is just plain fun to see how Hollywood gave General George Custer the credit for the 7th Cavalry signature music. And, of course, the song itself is terrific.

Garry Owen

Knowing the patriotism within my grandfather, I tried many times in the 1960’s and 1970’s without success to get him to attend the weekly town band concerts during summers on Cape Cod. I now comprehend that he had witnessed one of the greatest American band concerts of all time and the memories of that event were ingrained in his mind.

During WWI the Marine Corps had only one fighting force in France, notably the heralded 4th Brigade. Following their duty with the Occupation of Germany, General John A. Lejeune and the Marines collected themselves at Quantico on the evening of August 11, 1919 for a concert under the direction of Marine Band leader William H. Santelmann. For the comrades who had bonded together in battle this would be their second to last night together as the 4th Brigade would be broken up forever. On August 12th their final full day together they would parade by President Wilson’s viewing stand in front of the White House. Santelman chose as his opening piece a march by John Phillip Sousa titled:

The Pathfinder of Panama

Thanks for that story and the great link,Mark. I love Sousa marches but I'm not sure that I am familiar with this one. I think he wrote over 130 marches, so I guess we can't know them all.

What great stories and great additions Jill and Mark - I think this should be a fascinating add to the Music threads because there is music associated with all of the conflicts and wars and there are so many great historical anecdotes attached to them.

Jill wrote: "I love Sousa marches but I'm not sure that I am familiar with this one. I think he wrote over 130 marches, so I guess we can't know them all."

As leader of the U.S. Marine Corps Band here are two Sousa notables that you will certainly recall. With all the Sunday news commentary shows on television today his march dedicated to the Washington Post newspaper in 1889 seems appropriate. His most notable piece, “The Stars and Stripes Forever” was composed on Christmas Day 1896 and by an act of Congress it is America’s official National March.

The Washington Post March



The Stars and Strips Forever

This was the favorite song of the Vietnamese soldiers that I worked with in 1970:

Mark.....those are probably the best known of Sousa's marches and I love them both. His use of the piccolo in The Stars and Stripes makes it very special...a different sound for a military song. Of course, the songs of the War Between the States used the fife but not to such advantage.

Jimmy.......how funny. I never would have connected Love Potion #9 with Vietnam but I guess it was very popular over there during the war. Was it the favorite of American soldiers in Vietnam or with members of the South Vietnamese Army?

Jill wrote: "...those are probably the best known of Sousa's marches and I love them both."

I must list just one more as it was Sousa’s favorite composition, titled “Semper Fidelis” from 1888 that carried through the Spanish-American War, both World Wars and other wars to present day.

Semper Fidelis

Mark wrote: "Jill wrote: "I love Sousa marches but I'm not sure that I am familiar with this one. I think he wrote over 130 marches, so I guess we can't know them all."

As leader of the U.S. Marine Corps Band ..."

Thank you Mark.

That's a little different take....I wasn't expecting the words. Great rendition.

Jimmy wrote: "This was the favorite song of the Vietnamese soldiers that I worked with in 1970:

"

Really? That is amazing - why do you think that was?

Mark here is Semper Fidelis being played by the Marines in honor of Souza's birthday.

The United States Marine Band, 'The President's Own', perform for the annual Sousa Birthday ceremony at the Congressional Cemetery in Washington. In this video, twenty-eight members of the band march into the cemetery, play Semper Fidelis, then march off. As always, the Band demonstrates musical excellence and military precision. Major Jason Fettig is the director and Master Gunnery Sergeant William Browne is the Drum Major.



U.S. Marines On Parade: Pass in Review - 13

Alpha Company and Bravo Company pass in review as the Evening Parade draws to a close, about 10pm. Listen to "Semper Fidelis" interspersed with the "Marine Hymn."

Friday Evening Summer Parade, June 10, 2011, Marine Barracks, Washington, DC

Lili Marleen

One of the only songs shared as a favorite by both sides in WWII. Ms. Andersen sounds a lot like Marlena Dietrich who also sang this song for the Allied troops on her visits to the front.

"After the occupation of Belgrade in 1941, Radio Belgrade became the German forces' radio station under the name of Soldatensender Belgrad (Soldiers' Radio Belgrade), with transmissions heard throughout Europe and the Mediterranean.

While on leave in Vienna, a lieutenant working at the station was asked to collect some records for broadcast. Amongst the pile of second-hand records from the Reich radio station was the little known two-year-old song "Lili Marleen" sung by Lale Andersen, which up till then had barely sold around 700 copies. For lack of other recordings, Radio Belgrade played the song frequently.

At one point the Nazi government's propaganda minister, Joseph Goebbels, ordered broadcasting of the song to stop. Radio Belgrade received many letters from Axis soldiers all over Europe asking them to play "Lili Marleen" again. Goebbels reluctantly changed his mind, and from then on the tune was used to sign-off the broadcast at 9:55 PM.

Its popularity quickly grew. Soldiers stationed around the Mediterranean, including both German Afrika Korps and British Eighth Army troops, regularly tuned in to hear it. In fact it was published in South Africa, in a wartime leaflet, with an anonymous English translation of the text, as "Lili Marleen: The Theme Song of the Eighth Army and the 6th Armoured Division". Erwin Rommel, commander of the Afrika Korps, admired the song and asked Radio Belgrade to incorporate it into their broadcasts, which they did.

Lale Andersen was awarded a gold disc for over one million sales of "Lili Marleen" [HMV - EG 6993] It is thought that she was awarded her copy after hostilities ended. HMV's copy was discarded during renovations to their flagship store on Oxford Street, London, in the 1960s where, hitherto, it had been on display. The disc was recovered and is now in a private collection." (Source: )

Lili Marleen by Lale Andersen

2013 Inauguration - U.S. Army Fife and Drum Corps

THIS WAS THE WRITE-UP - Last-minute preparations are being made all across the Washington, D.C. area for Monday's presidential inauguration, and it's no different at Fort Meyer, located just across the river in Virginia. It's there that one of the more unique inaugural traditions is headquartered: the United States Army Old Guard Fife and Drum Corps. They wear the same outfits as the Continental Army did during the Revolutionary War, including the Tricorn hats and powdered wigs, and will march in front of President Barack Obama, just as they have for past presidents over the last 50 years.



U.S. Army Old Guard Fife and Drum Corps Anniversary Tattoo - Part I

Part 1 of 12 - A special evening of music celebrating the United States Army Old Guard Fife and Drum Corps 50th Anniversary. Music groups from throughout the country perform in a special two-hour musical extravaganza celebrating the spirit of music. Part one features the Tattoo opening, National Anthem, and a special presentation of an Army Superior Unit Award to the Old Guard Fife and Drum Corps.



U.S. Army Old Guard Fife and Drum Corps Anniversary Tattoo - Part 2

Part 2 of 12 - A special evening of music celebrating the United States Army Old Guard Fife and Drum Corps 50th Anniversary. Music groups from throughout the country perform in a special two-hour musical extravaganza celebrating the spirit of music. Part two features the Fifes and Drums of Colonial Williamsburg. (18th Century music)



U.S. Army Old Guard Fife and Drum Corps Anniversary Tattoo - Part 3

Part 3 of 12 - A special evening of music celebrating the United States Army Old Guard Fife and Drum Corps 50th Anniversary. Music groups from throughout the country perform in a special two-hour musical extravaganza celebrating the spirit of music. Part three features the City of Washington Pipe Band from Washington, DC. This Pipe Band was formed from the United States Air Force Pipe Band in 1961.



U.S. Army Old Guard Fife and Drum Corps Anniversary Tattoo - Part 4

Part 4 of 12 - A special evening of music celebrating the United States Army Old Guard Fife and Drum Corps 50th Anniversary. Music groups from throughout the country perform in a special two-hour musical extravaganza celebrating the spirit of music. Part four features the American Originals Fife and Drum Corps from Annapolis, MD.



U.S. Army Old Guard Fife and Drum Corps Anniversary Tattoo - Part 5

Part 5 of 12 - A special evening of music celebrating the United States Army Old Guard Fife and Drum Corps 50th Anniversary. Music groups from throughout the country perform in a special two-hour musical extravaganza celebrating the spirit of music. Part five highlights the first of two parts featuring the "Commandant's Own" United States Marine Drum and Bugle Corps from Marine Barracks, Washington, DC.

Jill wrote: "Lili Marleen

One of the only songs shared as a favorite by both sides in WWII. Ms. Andersen sounds a lot like Marlena Dietrich who also sang this song for the Allied troops on her visits to the fr..."

Very interesting Jill

The American Civil War

The Battle Hymn of the Republic

The most important song on the Union side during the war.

The American Civil War

All Quiet Along the Potomac Tonight

97th regimental string band-All Quiet Along The Potomac

Glenn Miller - In The Mood



Glenn Miller - Chattanooga Choo Choo - Sun Valley Serenade (1941) HQ

Sun Valley Serenade is the first of the only two movies featuring The Glenn Miller Orchestra (the other is 1942's Orchestra Wives). Besides "Chattanooga Choo Choo", other Glenn Miller tunes in the film are "Moonlight Serenade", "It Happened in Sun Valley", "I Know Why (and So Do You)", and "In the Mood".

The American Civil War

The Bonnie Blue Flag

This southern rallying song was as popular as the more well know Dixie during the War Between the States.

Bonnie Blue Flag: Tom Roush

Hail Columbia! with Lyrics; First American National Anthem - United States of America

After the French Revolution, conflict arose between France and England, and American relations with both countries became strained, because American leaders differed in their sympathies with these nations. As a result, France and the United States were on the verge of war in the spring of 1798. To try to unify the Nation, Joseph Hopkinson (son of Francis Hopkinson, composer and signer of the Declaration of Independence) wrote the words of Hail, Columbia! and set them to the tone of The President's March, said to have been composed by Philip Phile as Washington's inaugural march. The new song called for all Americans to support George Washington, who had been recalled from retirement by President John Adams to resume his position as Commander-in-Chief of the Army and Navy. The song did help to unify the Nation and avert war; and it was long regarded in Europe as our National Anthem.
-From the Album Cover



Note: Interesting lyrics - song now used to honor the Vice President

Some History of the Song from the Library of Congress



(no image) The Story of Our National Ballads by C.A. Browne (no photo)

by Gilbert Chase (no photo)

by H. Wiley Hitchcock (no photo)

(no image) Our American Music: A Comprehensive History From 1620 To The Present by John Tasker Howard (no photo)

U.S. Presidential Anthem - Hail to the Chief (With Lyrics)

Words of "Hail to the Chief" by Albert Gamse

Hail to the Chief we have chosen for the nation,
Hail to the Chief! We salute him, one and all.
Hail to the Chief, as we pledge co-operation
In proud fulfillment of a great, noble call.
Yours is the aim to make this grand country grander,
This you will do, that's our strong, firm belief.
Hail to the one we selected as commander,
Hail to the President! Hail to the Chief!



Some background:

The American Civil War

When this Cruel War is Over

From the documentary "Civil War Songs and Stories"
Copyright Nashville Public Television, 2011
Song is "When This Cruel War is Over" (1863)
Also known as "Weeping Sad and Lonely"
Lyricist: Charles C. Sawyer; Composer: Henry Tucker
(published by J. C. Schreiner & Son, Savannah, GA., 1862)
Commentary at the end is by musicologist Dr. Dale Cockrell.

Songs of the Civil War

When Johnny Comes Marches Home Again



Performed by the United States Military Academy Band.

This is a vintage video - The Big Picture (The American Civil War)

A Nation Sings - A musical memorial to the Civil War in song, by the US Army Band and Chorus and civilian vocalists. "Down By The Riverside", "When Johnny Comes Marching Home", "We are Coming Father Abra'am", "Lorena", "Tenting On The Old Camp Ground", "The Battle" (new music & spoken word piece), "In the Sweet By-and-By / The Army Bean", "Yellow Rose of Texas", "Bonnie Blue Flag","Home! Sweet Home!", "Dixie" & "The Battle Hymn of the Republic".

As far as Love Potion #9 goes, it was just the favorite of the Vietnamese soldiers. I posted it here because it surprised me too when I was there. I sang it with them. We went over the words. They asked me questions. They told me how much they loved it. I think it was because they were a lot behind on music. Things are different now with all the technology.

Great posts Bentley.

Here are two WWI songs, one especially for soldiers from Britain and Ireland and the second for the warriors from America.

It's A Long, Long Way to Tipperary



Over There

The Over There link is wonderful, Mark. But let me put up another version of it from the movie bio-pic of George M. Cohan Yankee Doodle Dandy for which James Cagney, who was personally picked by Cohan to play the part, won an Academy Award. Some idiot colorized it but it is still stirring.

Over There

Jimmy wrote: "As far as Love Potion #9 goes, it was just the favorite of the Vietnamese soldiers. I posted it here because it surprised me too when I was there. I sang it with them. We went over the words. They ..."

Very interesting Jimmy. That is what I thought too - they were really behind on music - but it remarkable what different groups develop an affinity for.

Mark great footage

Jill - enjoyed your version too - love Cagney.

He even looked like Cohan, a feisty little Irishman.

Jill wrote: "...let me put up another version of it from the movie bio-pic of George M. Cohan Yankee Doodle Dandy for which James Cagney, who was personally picked by Cohan to play the part, won an Academy Award..."

Thanks Jill, it was fantastic.

By 1915, Americans began debating the need for military and economic preparations for war. Strong opposition to “preparedness” came from isolationists, socialists, pacifists, many Protestant ministers, German Americans, and Irish Americans (who were hostile to Britain). One of the hit songs of 1915, “I Didn’t Raise My Boy to Be a Soldier,” by lyricist Alfred Bryan and composer Al Piantadosi, captured widespread American skepticism about joining in the European war. Meanwhile, interventionists and militarists like former president Theodore Roosevelt beat the drums for preparedness. Roosevelt’s retort to the popularity of the antiwar song was that it should be accompanied by the tune “I Didn’t Raise My Girl to Be a Mother.” He suggested that the place for women who opposed war was “in China—or by preference in a harem—and not in the United States.”

I Didn't Raise My Boy To Be a Soldier by the Peerless Quartet (1915)

A history of the music and its importance during the War Between the States.

Music of the Civil War Era

by Steven H. Cornelius (no photo)

Synopsis:

As divisive and destructive as the Civil War was, the era nevertheless demonstrated the power that music could play in American culture. Popular songs roused passion on both sides of the Mason-Dixon line, and military bands played music to entertain infantry units-and to rally them on to war. The institution of slavery was debated in songs of the day, ranging from abolitionist anthems to racist minstrel shows. Across the larger cultural backdrop, the growth of music publishing led to a flourishing of urban concert music, while folk music became indelibly linked with American populism. This volume, one of the first in the "American History through Music" series, presents narrative chapters that recount the many vibrant roles of music during this troubled period of American history. A chapter of biographical entries, a dictionary of Civil War era music, and a subject index offer useful reference tools.

The "American History through Music" series examines the many different styles of music that have played a significant part in our nation's history. While volumes in this series show the multifaceted roles of music in culture, they also use music as a lens through which readers may study American social history. The authors present in-depth analysis of American musical genres, significant musicians, technological innovations, and the many connections between music and the realms of art, politics, and daily life. Chapters present accessible narratives on music and its cultural resonations, music theory and technique is broken down for the lay reader, and each volume presents a chapter of alphabetically arranged entries on significant people and terms.

The Last Time I Saw Paris was written in 1940 and it expressed the yearning for the Paris that existed before the Nazi occupation

The Last Time I Saw Paris by Noel Coward

This song was written 50 years ago as a protest of the Viet Nam War and is still topical today.

Eve of Destruction by Barry McGuire

It really is Jill - great adds.

Another patriotic song by George M Cohan which stirred the hearts of the populace during WWI. Although written in 1906, it regained popularity when the Great War started. This clip is from the film "Yankee Doodle Dandy".

You're A Grand Old Flag

This will stir some memories

Battle Notes: Music of the Vietnam War

by Lee Andresen (no photo)

Synopsis:

This book is the only complete discography of all the music of the Vietnam era. Complied by history professor, Lee Andresen, the book details famous and infamous songs. It highlights obscure and unknown tunes. A tremendous source of accurate information. Relive the tunes of what the NYT called, Our first rock and roll war. A treasure for Vietnam vets.

Adolph Hitler was obsessed with the music of Richard Wagner and it revived the German populations' interest in Wagner's operas. This is the story of Winifred, Wagner's daughter-in-law who was a personal friend of Hitler and created the Bayreuth Festival which continues to this day.

Winifred Wagner: A Life at the Heart of Hitler's Bayreuth

by Brigitte Hamann (no photo)

Synopsis:

Winifred Wagner was a British-born orphan who became Richard Wagner’s daughter-in-law, head of the Bayreuth festival, and one of Adolf Hitler’s closest personal friends. A no-nonsense Englishwoman who displaced Wagner’s formidable widow to become head of the family and the Festival, Winifred fell adolescently in love with Hitler and made Bayreuth the summer gathering place for the Nazi elite from 1933 to 1939. And yet this staunch German nationalist leaped to the aid of Jewish acquaintances and artists as they were increasingly threatened by exile, imprisonment, or death.

Drawing on previously unavailable sources, Brigitte Hamann has produced a meticulously researched and elegantly written biography—the story of the private Hitler and his monumental obsessions, and of the headstrong, dedicated, and misguided woman who remained loyal to his memory until her death in 1980.

This book covers the complete history of WWII music and those who enjoyed popularity at that time.

Music of the Word War II Era

by William H. Young (no photo)

Synopsis

In the World War II era, big bands and swing music reached the heights of popularity with soldiers as well as friends and loved ones back home. Many entertainers such as Glenn Miller also served in the military, or supported the war effort with bond drives and entertaining the troops at home and abroad. In addition to big band and swing music, musicals, jazz, blues, gospel and country music were also popular. Chapters on each, along with an analysis of the evolution of record companies, records, radios, and television are included here, for students, historians, and fans of the era.

Includes a timeline of the music of the era, an appendix of the Broadway and Hollywood Musicals, 1939-1945, and an appendix of Songs, Composers, and lyricists, 1939-1945. An extensive discography and bibliography, along with approximately 35 black and white photos, complete the volume

An inside look at the influence of music during WWI.

Proof Through the Night: Music and the Great War

by Glenn Watkins (no photo)

Synopsis:

Carols floating across no-man's-land on Christmas Eve 1914; solemn choruses, marches, and popular songs responding to the call of propaganda ministries and war charities; opera, keyboard suites, ragtime, and concertos for the left hand—all provided testimony to the unique power of music to chronicle the Great War and to memorialize its battles and fallen heroes in the first post-Armistice decade. In this striking book, Glenn Watkins investigates these variable roles of music primarily from the angle of the Entente nations' perceived threat of German hegemony in matters of intellectual and artistic accomplishment—a principal concern not only for Europe but also for the United States, whose late entrance into the fray prompted a renewed interest in defining America as an emergent world power as well as a fledgling musical culture. He shows that each nation gave "proof through the night"—ringing evidence during the dark hours of the war—not only of its nationalist resolve in the singing of national airs but also of its power to recall home and hearth on distant battlefields and to reflect upon loss long after the guns had been silenced.

A rather unusual book about the influence of music on the soldiers fighting in the Iraq War.

Sound Targets: American Soldiers and Music in the Iraq War

by Jonathan Pieslak (no photo)

Synopsis:

Though a part of American soldiers' lives since the Revolutionary War, by World War II music could be broadcast to the front. Today it accompanies soldiers from the recruiting office to the battlefield. For this book, Jonathan Pieslak interviewed returning veterans to learn about the place of music in the Iraq War and in contemporary American military culture in general. Pieslak describes how American soldiers hear, share, use, and produce music both on and off duty. He studies the role of music from recruitment campaigns and basic training to its use "in country" before and during missions. Pieslak explores themes of power, chaos, violence, and survival in the metal and hip-hop music so popular among the troops, and offers insight into the daily lives of American soldiers in the Middle East.

It is not very often in modern times for a march to become so popular but this happened when the film The Bridge on the River Kwai was released. Everyone was whistling the theme, The Colonel Bogey March. It was written in 1914 by Lt. F.J. Ricketts who later become the Director of Music for the Royal Marines and was adapted, in part, for the film.

Colonel Bogey March performed by The Boston Pops Orchestra