We Gotta Get Out Of This Place

“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.

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In their 2015 award-winning book, We Gotta Get Out of This Place: The Soundtrack of the Vietnam War, Doug Bradley and Craig Werner placed popular music at the heart of the American experience in Vietnam. Over the next two years, they made more than 100 presentations coast-to-coast, witnessing honest, respectful exchanges among audience members. That journey prompted Bradley to write Who'll Stop the Rain: Respect, Remembrance, and Reconciliation in Post-Vietnam America and to further explore how the music of the era, shared by those who served and those who stayed, helped create safe, nonjudgmental environments for listening, sharing, and understanding. Those insights, and others, can help redefine America's public memory of Vietnam, one that invites a broader public understanding, sometimes written physically into the landscape via monuments, about what we revere and what we regret about who we are and what Vietnam did to us. A chorus of voices in Who'll Stop the Rain–​famous and anonymous, female and male, veteran and non-veteran, American and Vietnamese–suggests new possibilities for understanding the legacy of Vietnam and, ultimately, for bringing the men and women who served their country in that controversial war home for good.

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

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.