Songs Of The Vietnam Conflict

Provides a detailed critical and musical analysis of nearly 150 songs related to and inspired by the Vietnam War and a selected discography of both original releases and reissues.

Provides a detailed critical and musical analysis of nearly 150 songs related to and inspired by the Vietnam War and a selected discography of both original releases and reissues.

This is the trade paperback second edition of the popular original title

“The diversity of voices and songs reminds us that the home front and the battlefront are always connected and that music and war are deeply intertwined.” —Heather Marie Stur, author of 21 Days to Baghdad For a Kentucky rifleman who spent his tour trudging through Vietnam’s Central Highlands, it was Nancy Sinatra’s “These Boots Are Made for Walkin’.” For a black marine distraught over the assassination of Martin Luther King Jr., it was Aretha Franklin’s “Chain of Fools.” And for countless other Vietnam vets, it was “I Feel Like I’m Fixin’ to Die” or the song that gives this book its title. In We Gotta Get Out of This Place, Doug Bradley and Craig Werner place popular music at the heart of the American experience in Vietnam. They explore how and why U.S. troops turned to music as a way of connecting to each other and the World back home and of coping with the complexities of the war they had been sent to fight. They also demonstrate that music was important for every group of Vietnam veterans—black and white, Latino and Native American, men and women, officers and “grunts”—whose personal reflections drive the book’s narrative. Many of the voices are those of ordinary soldiers, airmen, seamen, and marines. But there are also “solo” pieces by veterans whose writings have shaped our understanding of the war—Karl Marlantes, Alfredo Vea, Yusef Komunyakaa, Bill Ehrhart, Arthur Flowers—as well as songwriters and performers whose music influenced soldiers’ lives, including Eric Burdon, James Brown, Bruce Springsteen, Country Joe McDonald, and John Fogerty. Together their testimony taps into memories—individual and cultural—that capture a central if often overlooked component of the American war in Vietnam.

This is the hard cover edition of the new release

Wars have dominated the history of the United States since its founding, but there has also been a long history of antiwar activity. Peace songs have emerged out of every military conflict involving the United States. "Singing for Peace" vividly portrays this rich antiwar history, beginning in the eighteenth century and continuing into the twenty-first.Most of the twentieth-century output was dominated by folk groups and acoustic singer-songwriters. The Vietnam War saw the increased dovetailing of folk and rock music, so that rock and folk-rock took on an ever-larger share of protest activity, then punk, metal, hip-hop, and rap. The authors draw upon a wide range of primary and secondary sources, while quoting many popular and lesser-known song lyrics, and including a range of photos and illustrations. These songs have long served to both shape and reveal the feelings of citizens opposed to America s wars."

The songs of the U.S. Air Force flyers during the Vietnam War, written in the cryptic language of pilots and navigators, aloft in their "beasts" a dozen "angels" up in the sky, uniquely reflect the stark emotions and black humors of that ill-fated war. Veteran navigator Joseph F. Tuso spent fifteen years collecting the lyrics for more than a hundred songs written or sung by U.S. Air Force flyers from about 1966 through 1969. Many of the songs' authors are unknown. But their lyrics, even such jarring lines as those of "Chocolate-covered Napalm," often are set to popular melodies, such as "The Wabash Cannonball." Some songs have original tunes as well. Twenty-five of the 148 songs whose lyrics are included here were written by Dick Jonas, the premier songwriter of the Vietnam era Air Force. Many other songs appear in print for the first time. Singing the Vietnam Blues begins with a personal overture that sets the stage for a play of war-evoked emotions and lines that are less than sacred, more than profane, and sometimes poignant. Some songs, such as the "Phu Cat Alert Pad," are based on historical events, while others have their origins in popular myths, such as "Wolf Pack's Houseboy." Whatever the direct source of the songs, it is the daily combat, rescue, or transport missions; the possibility of death; and the fear, bravado, and competition between pilots, navigators, planes, and enemy flyers or "bandits" that generated the lyrics. Most songs are preceded by Tuso's explanation of each song's origin, other versions, references to current events or "inside jokes," and sometimes personal insights and memories. A glossary is also included.