Caisson, a two-wheeled cart designed to carry artillery and ammunition, was pulled by horses. Viewed as an instant success in the army, this song would have been popular among the soldiers and thus included in the song book. The Works of John Philip Sousa , pp. Oh, they said the coast artillery would never go to war, And all that they were fit for was to hang around the shore.
But when in France they needed men to shoot the tens and twelves. Why, they cabled to the President to send our loyal selves. So Marshall French got on the wire and quickly told the king That the garrison artillery would be the only thing. So, limber up the sixes and tens and other guns, And bracket on the O.
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The subject of this song has little to do with the American army. Marshall French, mentioned in verse three was the First Earl of Ypres who commanded of the British Army from to and earned the title of earl for his efforts on the Second Battle of Ypres in May, This song would have appealed to Irish-American soldiers and other soldiers would have viewed the song as a collage of the leaders: president, king, and kaiser. Reveille: I can't get 'em up, I can't get 'em up, I can't get 'em up this morning; I can't get 'em up, I can't get 'em up, I can't get 'em up at all!
Mess Call: Soupy, soupy, soup, without a single bean; Porky, porky, pork, without a streak of lean; Coffee, coffee, without any cream or the weakest ever seen. Stable Call: Come all who are able and go the stable, And water your horses and give them some corn. Taps: 1. Fading light Dims the sight And a star gems the sky, Gleaming bright, From afar drawing nigh, Falls the night. Dear one, rest!
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In the west Sable night Lulls the day on her breast, Sweet goodnight! Now away To thy rest. Love, sweet dreams! Lo, the beams Of the light Fairymoon kiss the streams, Love, goodnight! Ah, so soon!
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Peaceful dreams. These short tunes comprise a collection of trumpet or bugle calls designed to announce both scheduled and non-scheduled events in a military setting. Historically used to communicate with troops during battles, the bugle was eventually used also to indicate the change in daily routines of the camp.
Since there are no moveable valves in the bugle, the notes on all the calls come from a single overtone series. Although there are no official lyrics for these trumpet calls, soldiers eventually added their own lyrics.
Reveille: This call was used to wake military personnel at sunrise at which time the U. Mess Call: As implied by the lyrics, this call is played as signal to personnel mealtimes which is used for all meals. Stable Call: Used by Cavalry forces, this call was played as signal to those tending the stables that the horses needed to be fed and watered.
It was also during this time that the horses were groomed and the stables cleaned. Taps: This was played as the last call for the day and signaled that unauthorized lights be extinguished. The call was also used to signal the completion of a military funeral ceremony and the end of war. Way down upon de Swanee Ribber, Far, far away, Dere's wha my heart is turning ebber, Dere's wha de old folks stay.
All up and down de whole creation Sadly I roam, Still longing for de old plantation, And for the old folks at home. Chorus All de world am sad and dreary, Eb-rywhere I roam; Oh, darkeys, how my heart grows weary, Far from de old folks at home! When I was playing wid my brudder Happy was I; Oh, take me to my kind old mudder! Dere let me live and die Chorus.
Many people would have been familiar with this song.
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The song became so popular that it attracted tourists to visit Suwanee River in Florida to view the symbolic and idyllic home described in the lyrics. It was even included in several songbooks prior to the war. This Dixie song would not only have evoked nostalgia and homesickness to soldiers in the trenches, but would have also appealed to most soldiers from the Southern states.
By Ken Emerson. Why do I weep when my heart should feel no pain? Why do I sigh that my friends come not again? Foster, a supporter of the North during the Civil War, is heavily influenced by Charles Shiras, a friend who led abolitionist activities in Pennsylvania. With this mindset, Foster would humanize his characters in his songs that convey a message that people, regardless of ethnicity or class share a longingness of family and home.
His songs in the Army Song Book would have resonated with the soldiers the importance of home, family, and compassion for their comrades in the battlefield.
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The sun shines bright in the old Kentucky home. The young folks roll on the little cabin floor, All merry, all happy, and bright. Chorus Weep no more my lady, O weep no more today! We will sing one song for the old Kentucky home, For the old Kentucky home, far away. They hunt no more for the 'possum and the coon, On the meadow, the hill and the shore, They sing no more by the glimmer of the moon, On the bench by the old cabin door.
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The day goes by like a shadow o'er the heart, With sorrow where all was delight. The time has come when the darkies have to part, Then my old Kentucky home, good night! As soon as it was first published in , the song grew popular quickly and sold thousands of copies within days of its release. This song was adopted as the official state song of Kentucky in I wish I was in de land ob cotton, Old times dar am not forgotten, Look away! Look away! Dixie Land. Daniel Decatur Emmett in wrote this song for a blackface minstrel show that would become popular in the North.
Soldiers in the trenches would have felt something similar to this. It is not difficult to speculate that these horrible conditions encountered would have shared light-hearted moments with their comrades by singing this tune. This song would have appealed to a diverse audience. The song was popular prior and during the war.
The earliest known recording of this song was performed by Billy Murray, in a duet with Ada Jones, in Carry me back to old Virginny. There's where the cotton and corn and taters grow. There's where the birds warble sweet in the spring-time. There's where this old darkey's heart am long'd to go. There's where the cotton and the corn and taters grow; There's where the birds warble sweet in the spring-time. Bland, an African-American minstrel performer in This gives listeners a chance to hear a song from the perspective of black Americans.
The song tells of a slave who wants to return home to Virginia where he was born, a narrative that would have evoked nostalgia among soldiers as they looked forward to homecoming day.
Minstrel songs, where this song was popularized, were often met with controversy. While integrationists saw these shows as a misleading picture of showing happy slaves while poking fun at them at the same time, segregationists thought these shows broke social norms as they depicted runaway slaves. With audiences in the shows knowing that the composer is black, the issue of race would have played an important role in popularizing this song.
In , Alma Gluck and Len Spencer recorded this song and because of its popularity, it became one of the most recorded songs of the pre-war era.
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Music of the First World War p. Sweet, Backintyme, p. A sitting in the Kingdom, to hear Jordan roll. Oh, sinners, you ought, 4. Oh, mourners, you ought, 5. Oh, mothers, you ought 7. Oh, children, you ought,. Written as a spiritual by Charles Wesley in the 18th century, this song was sung at religious camp meetings as part of the Second Great Awakening.
In the 19th and early 20th century, the song was mostly popular among African-Americans. Black slaves during the Civil War felt similarly as many of them sought refuge in their promise land, the free North where slavery was outlawed. Similar to the Israelites, slaves had to cross the Mississippi or Ohio Rivers to cross into the North.
Related Sentimental Journey (World War II series: When a Hero Comes Marching Home Book 1)
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