From: Ron Gillen (gillen@nconnect.net)
Date: Mon May 20 2019 - 13:38:18 PDT
SourceBook Modern History Sourcebook: There'll Always Be An England and other War Music Although First World War poets [Rupert Brooke, Wilfred Owen, Siegfried Sassoon] are often presented as the literature of wartime, popular songs were important in keeping up morale. Those from World War II have become especially well known. Some songs were overtly nationalistic, such as There'll Always Be An England. Other music was popular because it evoked emotional states common in wartime, for instance a sense of nostalgic sadness and loss. Perhaps the most famouse such song was Lili Marlene, uniquely famous as a hit both for German and Allied armies. In Britain, without any question, the most popular vocalist of World War II was Vera Lynn, "the forces' sweetheart". She sang virtually every well-known wartime song in her concerts (including Lili Marlene and There'll Always Be An England), but her best know songs were White Cliffs of Dover and We'll Meet Again. These songs give only a hint of the variety of wartime music. Other music popular included a variety of "silly" songs and some lush instrumental compositions. There'll Always Be An England I give you a toast, ladies and gentlemen. I give you a toast, ladies and gentlemen. May this fair dear land we love so well In dignity and freedom dwell. Though worlds may change and go awry While there is still one voice to cry - - - There'll always be an England While there's a country lane, Wherever there's a cottage small Beside a field of grain. There'll always be an England While there's a busy street, Wherever there's a turning wheel, A million marching feet. Red, white and blue; what does it mean to you? Surely you're proud, shout it aloud, "Britons, awake!" The empire too, we can depend on you. Freedom remains. These are the chains Nothing can break. There'll always be an England, And England shall be free If England means as much to you As England means to me. words & music: Parker & Charles copyright: Unknown Lili Marlene Lili Marlene was based on a poem written German soldier Hans Leip during World War I (in 1915), and published in 1937. Norbert Schultze set the poem to music in 1938 and it was recorded just before the war. It became a favorite of both German troops when it was broadcast to the AfrikaKorps in 1941. The immense popularity of the German version led to a hurried English version done by Tommie Connor and broadcast by the BBC for the Allied troops. Eventually, both sides began broadcasting the song in both versions, interspersed with propaganda nuggets. The German singer was Lale Andersen , an anti-Nazi. But the most celebrated singer was another anti-Nazi German - Marlene Dietrich, began to sing it in 1943. The English version of the song embellishs an already sentimental German original. After the war, the song's fame was perpetuated by Vera Lynn who sang it in every NAAFI concert she gave for British BAOR (British Army of the Rhine) soldiers stationed in pre-NATO Germany, to thunderous applause and stomping feet. Link to Lili Marlene - a page with the music, and recording of Dietrich singing the song. German English Vor der Kaserme vor dem großen Tor stand eine Lanterne und steht sie nach davor so wollen wir da uns wieder sehen bei der Lanterne wollen wir stehen wie einst Lili Marlen Unsere beide Schatten sahen wir einer aus daß wir so lieb uns hatten daß gleich man daraus und alle Leute sollen es sehen wie einst Lili Marlen Schon rief der Posten, sie blasen zapfenstreich es kann drei Tage kosten Kamrad, ich komm so gleich da sagten wir auf wiedersehen wie gerne wollt ich mit dir gehen mit dir Lili Marlen Deine Schritte kennt sie, deine Zierengang alle abend brennt sie, doch mich vergaß sie lang und sollten mir ein leids geschehen wer wird bei der Lanterne stehen mit dir Lili Marlen? Aus dem Stillen raume, aus der erder Grund heßt mich wie un Traüme dein verliebster Mund wenn sich die Spaten nebel drehn werd'ich bei der Lanterne stehen wie einst Lili Marlen Underneath the lantern by the barrack gate, Darling I remember the way you used to wait, 'Twas there that you whispered tenderly, That you loved me, You'd always be, My Lili of the lamplight, My own Lili Marlene. Time would come for roll call, Time for us to part, Darling I'd caress you and press you to my heart, And there 'neath that far off lantern light, I'd hold you tight, We'd kiss "good-night," My Lili of the lamplight, My own Lili Marlene. Orders came for sailing somewhere over there, All confined to barracks was more than I could bear; I knew you were waiting in the street, I heard your feet, But could not meet, My Lili of the lamplight, My own Lili Marlene. Resting in a billet just behind the line, Even tho'we're parted your lips are close to mine; You wait where that lantern softly gleams, Your sweet face seems to haunt my dreams, My Lili of the lamplight, My own Lili Marlene. Marlene Dietrich sang a variation on the lyrics. When we are marching in the mud and cold, And when my pack seems more than I can hold, My love for you renews my might, I'm warm again, My pack is light, It's you Lili Marlene, It's you Lili Marlene... White Cliffs of Dover 1942 Words by Nat Burton and Music by Walter Kent Although in Britain (There'll Be Bluebirds Over) The White Cliffs Of Dover was most associated with Vera Lynn, in the US Kay Kyser and His Orchestra (vocal by Harry Babbitt) took it to a peak Billboard position of #1 in 1941-42. Four other competing versions also made the Top 20: Glenn Miller (#6); Kate Smith (#9); Sammy Kaye (#11); and Jimmy Dorsey (#15). Link to a Real Audio Clip from PBS [You will need the free RealAudio Player to hear this. Click to download]. There'll be bluebirds over the white cliffs of Dover Tomorrow, just you wait and see There'll be love and laughter and peace ever after Tomorrow when the world is free (The shepherd will tend his sheep) (The valley will bloom again) And Jimmy will go to sleep In his own little room again There'll be bluebirds over the white cliffs of Dover Tomorrow, just you wait and see <instrumental interlude> There'll be bluebirds over the white cliffs of Dover Tomorrow, just you wait…and see We'll Meet Again 1939 Words and Music by Ross Parker and Hughie Charles In Britain this was Vera Lynn's song. In the US Guy Lombardo and His Royal Canadians took it to a peak Billboard position # 24 in 1941. Kay Kaiser also hit # 24. with it, and Benny Goodman hit # 16 in 1942. Vera Lynn's version made it to the US charts (#29) in 1954, and also appeared on the soundtrack of the film Dr. Strangelove in 1964. We'll meet again Don't know where Don't know when But I know we'll meet again some sunny day Keep smilin' through Just like you always do Till the blue skies drive the dark clouds far away So will you please say hello To the folks that I know? Tell them I won't be long They'll be happy to know That as you saw me go I was singing this song We'll meet again Don't know where Don't know when But I know we'll meet again some sunny day <instrumental to end> Other World War II Hits in Britain The Warsaw Concerto Music: Richard Addinsell The Warsaw Concerto was the theme music in an British movie of 1941 (not released until after the war in the US, where it was called Suicide Squadron!), Dangerous Moonlight. The Rachmaninov-like theme became an instant success all over the world. O mio babbino caro ["O dearest Daddy"] from Giacomo Puccini: Gianni Schicchi 1919 (words, Gioachino Forzano) An English version of this song became a huge wartime hit. Link to modern singer's version [WAV file] Run rabbit run - Flannegan & Allen Words by Noel Gay & Ralph Butler. Music by Noel Gay Run rabbit - run rabbit - Run! Run! Run! Run rabbit - run rabbit - Run! Run! Run! So run rabbit - run rabbit - Run! Run! Run! Run rabbit - run rabbit - Run! Run! Run! Don't give the farmer his fun! Fun! Fun! He'll get by without his rabbit pie So run rabbit - run rabbit - Run! Run! Run! When the Lights Go On Again All Over the World Written by Eddie Seller, Sol Marcus, and Bennie Benjamin Vaughn Monroe and His Orchestra too it to a US # 1 in 1943, and a competing version by Lucky Millinder hit # 12. This was a mid-WW2 song. The title refers to the practice of having to black out possible bombing targets and to avoid back-lighting targets for bombs. <intro-muted cornets and trombones> When the lights go on again all over the world And the boys are home again all over the world And rain or snow is all that may fall from the skies above A kiss won't mean "goodbye" but "Hello to love" When the lights go on again all over the world And the ships will sail again all over the world Then we'll have time for things like wedding rings and free hearts will sing When the lights go on again all over the world <instrumental break> When the lights go on again all over the world I'll be seeing you - The Ink Spots/Bing Crosby Words by Irving Kahal, music by Sammy Fain This version, by The Ink Spots, did not chart but in 1944, Bing Crosby took it to # 1 and Tommy Dorsey managed # 4. Later adopted by Liberace as his theme song. I'll be seeing you in all the old familiar places That this heart of mine embraces all day through In that small café, the park across the way The children's carousel, the chestnut trees, the wishing well I'll be seeing you in every lovely summer's day In everything that's light and gay I'll always think of you that way I'll find you in the mornin' sun And when the night is new I'll be looking at the moon But I'll be seeing you ------ instrumental break ------ I'll find you in the mornin' sun And when the night is new I'll be looking at the moon But I'll be seeing you In the mood - Glenn Miller & his Orchestra Words by Andy Razaf, music by Joe Garland Glenn Miller (#1 in 1940), and again at #20 in 1943 Who's the lovin' daddy with the beautiful eyes What a pair o' lips, I'd like to try 'em for size I'll just tell him, "Baby, won't you swing it with me" Hope he tells me maybe, what a wing it will be So, I said politely "Darlin' may I intrude" He said "Don't keep me waitin' when I'm in the mood" First I held him lightly and we started to dance Then I held him tightly what a dreamy romance And I said "Hey, baby, it's a quarter to three There's a mess of moonlight, won't-cha share it with me" "Well" he answered "Baby, don't-cha know that it's rude To keep my two lips waitin' when they're in the mood" In the mood, that's what he told me In the mood, and when he told me In the mood, my heart was skippin' It didn't take me long to say "I'm in the mood now" In the mood for all his kissin' In the mood his crazy lovin' In the mood what I was missin' It didn't take me long to say "I'm in the mood now" <instrumental interlude> So, I said politely "Darlin' may I intrude" He said "Don't keep me waitin' when I'm in the mood" <instrumental interlude> "Well" he answered "Baby, don't-cha know that it's rude To keep my two lips waitin' when they're in the mood" Who's the lovin' daddy with the beautiful eyes What a pair o' lips, I'd like to try 'em for size I'll just tell him, "Baby, won't you swing it with me" Hope he tells me maybe, what a wing it will be So, I said politely "Darlin' may I intrude" He said "Don't keep me waitin' when I'm in the mood" First I held him lightly and we started to dance Then I held him tightly what a dreamy romance And I said "Hey, baby, it's a quarter to three It's a mess of moonlight, won't-cha share it with me" "Well" he answered "Baby, don't-cha know that it's rude To keep my two lips waitin' when they're in the mood" Source: This text is part of the Internet Modern History Sourcebook. The Sourcebook is a collection of public domain and copy-permitted texts for introductory level classes in modern European and World history. Unless otherwise indicated the specific electronic form of the document is copyright. Permission is granted for electronic copying, distribution in print form for educational purposes and personal use. If you do reduplicate the document, indicate the source. No permission is granted for commercial use of the Sourcebook. © Paul Halsall, July 1998 halsall@murray.fordham.edu To unsubscribe from this group, send an email to: timewitnesses-unsubscribe@egroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/