Amid the fearsome battles of the Civil War, both Union and Confederate soldiers were urged onward by song. There were songs to wake them up and songs to call them to bed, Songs to ready them for battle and to signal their retreat, Songs to tell them that their side was right, and the other wrong . . . And there was one song that reminded them all of what they hoped to return to after the war. Defeated in the battle of Fredericksburg, Virginia, the Union soldiers retreated across the river. There, a new battle emerged as both armies volleyed competing songs back and forth. With the Christmas season upon them, however, Federals and Confederates longed for the same thing. As the notes of "Home, Sweet Home" rose up from both sides, they found common ground for one night. Interwoven with soldiers' letters and journal entries, this is a true story of duty and heartbreak, of loyalty and enemies, and of the uniting power of music. Debbie Levy's moving text and Gilbert Ford's vibrant, layered illustrations come together to create an unforgettable tale of American history.

Dublin, 1914. As Ireland stands on the brink of political crisis, Europe plunges headlong into war. Among the thousands of Irishmen who volunteer to fight for the British Army is Stephen Ryan, a gifted young maths scholar whose working class background has marked him out as a misfit among his wealthy fellow students. Sent to fight in Turkey, he looks forward to the great adventure, unaware of the growing unrest back home in Ireland. His romantic notions of war are soon shattered and he is forced to wonder where his loyalties lie, on his return to a Dublin poised for rebellion in 1916 and a brother fighting for the rebels. Everything has changed utterly, and in a world gone mad his only hope is his growing friendship with the brilliant and enigmatic Lillian Bryce. The Soldier's Song is a poignant and deeply moving novel, a tribute to the durability of the human soul.

The seeds of irreverent humour that inspired the likes of Wayne and Shuster and Monty Python were sown in the trenches of the First World War, and The Dumbells—concert parties made up of fighting soldiers—were central to this process. Soldiers of Song tells their story. Lucky soldiers who could sing a song, perform a skit, or pass as a “lady,” were taken from the line and put onstage for the benefit of their soldier-audiences. The intent was to bolster morale and thereby help soldiers survive the war. The Dumbells’ popularity was not limited to troop shows along the trenches. The group also managed a run in London’s West End and became the first ever Canadian production to score a hit on Broadway. Touring Canada for some twelve years after the war, the Dumbells became a household name and made more than twenty-five audio recordings. If nationhood was won on the crest of Vimy Ridge, it was the Dumbells who provided the country with its earliest soundtrack. Pioneers of sketch comedy, the Dumbells are as important to the history of Canadian theatre as they are to the cultural history of early-twentieth-century Canada.

The dramatic story of an iconic love song, its three creators, and their lives under the Nazis. "Lili Marlene," the unlikely anthem of World War II, cut across front lines and ideological divides, uniting soldiers across the globe. This love song, telling the story of a young woman waiting for her lover to return from the battlefield, began as a poem written by a German solider during World War I. The soldier-poet's words found their way to Berlin's decadent cabaret scene in the 1930s, where they were set to music by one of Hitler's favored composers. The song's singer, however, soon found herself torn between her desire for fame and a personal hatred of the Nazi regime. In a gripping and suspenseful narrative, the three artists' remarkable stories of arrests and close calls intertwine with the recollections of soldiers on all sides who fought their way through deserts and towns, seeking solace and finding hope in "Lili Marlene."

'Sound Targets' explores the role of music in American military culture, focusing on the experiences of soldiers returning from active service in Iraq. Pieslak describes how American soldiers hear, share, use & produce music, both on & off duty.

An advertisement in the sheet music of the song “Goodbye Broadway, Hello France” (1917) announces: “Music will help win the war!” This ad hits upon an American sentiment expressed not just in advertising, but heard from other sectors of society during the American engagement in the First World War. It was an idea both imagined and practiced, from military culture to sheet music writers, about the power of music to help create a strong military and national community in the face of the conflict; it appears straightforward. Nevertheless, the published sheet music, in addition to discourse about gender, soldiering and music, evince a more complex picture of society. This book presents a study of sheet music and military singing practices in America during the First World War that critically situates them in the social discourses, including issues of segregation and suffrage, and the historical context of the war. The transfer of musical styles between the civilian and military realm was fluid because so many men were enlisted from homes with the sheet music while they were also singing songs in their military training. Close musical analysis brings the meaningful musical and lyrical expressions of this time period to the forefront of our understanding of soldier and civilian music making at this time.

“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.