Songs & Lyrics of the Civil War
General Sherman remarked that armies' days were filled with music. The music ranged from full orchestras, field bands (brass bands), string groups, drum and fife, a cappella, guitars and jug bands. The variety and rang of the music and, particularly, its quality is astounding. Classical music from Europe, folk tunes, parlor music were each and all popular.
It is something of a heart-break that wartime produces such moving and beautiful poetry and songs. (The Greek philosopher Plato observed this in ancient Greece, and he hated this fact and hated the artists who created them. To be honest, Plato disliked artists in general and not just poets). This has been true in America's major wars from the Revolution through the 2nd Gulf War. In particular the Civil War Era produced a wide range of material that is staggering and almost beyond belief. Many of these songs are embedded into our culture; no other war has given our musical heritage such treasures.
Something changed in the American psyche. Grief, and all its attendants, had been endured as private concerns. Families, friends, and loved ones mourned in their homes. Almost from the outbreak, the Civil War brought on displays of grief in public, not just by families but by society as a whole, both North and South. Public grief was not limited to the home front but also to garrison and combat troops, often in the form of music.
It is something of a heart-break that wartime produces such moving and beautiful poetry and songs. (The Greek philosopher Plato observed this in ancient Greece, and he hated this fact and hated the artists who created them. To be honest, Plato disliked artists in general and not just poets). This has been true in America's major wars from the Revolution through the 2nd Gulf War. In particular the Civil War Era produced a wide range of material that is staggering and almost beyond belief. Many of these songs are embedded into our culture; no other war has given our musical heritage such treasures.
Something changed in the American psyche. Grief, and all its attendants, had been endured as private concerns. Families, friends, and loved ones mourned in their homes. Almost from the outbreak, the Civil War brought on displays of grief in public, not just by families but by society as a whole, both North and South. Public grief was not limited to the home front but also to garrison and combat troops, often in the form of music.
Music Allows Expression of "Grief Too Great for Words" (John Ford, 1630)
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The lyrics were discovered in a Catholic church in Atlanta, 1862. The poet's fiance having just been killed, she penned the poem. Soon discovered, it was set to music. Although a Southern song, it was also well known in the North. Somebody's Darling (1862) Text: Marie Ravenal de la Costa Melody: John Hill Hewett Into the ward of the clean white-washed halls, Where the dead slept and the dying lay; Wounded by bayonets, sabres and balls, Somebody's darling was borne one day. Somebody's darling so young and so brave, Wearing still on his sweet yet pale face Soon to be hid in the dust of the grave, The lingering light of his boyhood's grace. Chorus: Somebody's darling, somebody's pride, Who'll tell his Mother where her boy died? Matted and damp are his tresses of gold, Kissing the snow of that fair young brow; Pale are the lips of most delicate mould, Somebody's darling is dying now. Back from his beautiful purple-veined brow, Brush off the wandering waves of gold; Cross his white hands on his broad bosom now, Somebody's darling is still and cold. Chorus Give him a kiss, but for somebody's sake, Murmur a prayer for him, soft and low, One little curl from his golden mates take, Somebody's they were once, you know, Somebody's warm hand has oft rested there, Was it a Mother's so soft and white? Or have the lips of a sister, so fair, Ever been bathed in their waves of light? Chorus Somebody's watching and waiting for him, Yearning to hold him again to her breast; Yet there he lies with his blue eyes so dim, And purple, child-like lips half apart. Tenderly bury the fair, unknown dead, Pausing to drop on this grave a tear; Carve on the wooden slab over his head, "Somebody's darling is slumbering here." Chorus from the Public Domain |
Root's song was very popular among Union troops in the Eastern Theater.
Just Before the Battle Mother (1862?) George Root Just before the battle, mother, I am thinking most of you, While upon the field we're watching With the enemy in view. Comrades brave are 'round me lying, Filled with thoughts of home and God For well they know that on the morrow, Some will sleep beneath the sod. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. Oh, I long to see you, mother, And the loving ones at home, But I'll never leave our banner, Till in honor I can come. Tell the traitors all around you That their cruel words we know, In every battle kill our soldiers By the help they give the foe. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. Hark! I hear the bugles sounding, 'Tis the signal for the fight, Now, may God protect us, mother, As He ever does the right. Hear the "Battle-Cry of Freedom," How it swells upon the air, Oh, yes, we'll rally 'round the standard, Or we'll perish nobly there. CHORUS: Farewell, mother, you may never Press me to your heart again, But, oh, you'll not forget me, mother, If I'm numbered with the slain. from the Public Domain |
Of Loneliness Too Great to Endure
North and South, Soldiers in the field and garrison shared the same homesickness and and sense of desperate separation from families, especially for their wives and sweethearts. The two songs below had such impact upon the troops' morale that they were often banned from performances. The depth of heartache brought forward by these songs caused desertions, especially in the South from 1863 onward.
Both of the songs below were written and published prior to the outbreak of hostilities. It's common for songs written years previous to conflicts to achieve new meanings and appreciation during wartime. An example from the World War 2 era is Artie Shaw's rendition of "Begin the Beguine," recorded in 1938, profoundly loved by military personnel throughout the War.
Both songs remain popular. It's difficult to find a western movie without one of these songs appearing; most recently, the celebration scene at the end of Cowboys and Aliens is a 2 step rendition of "Lorena." The melody of "Aura Lee" was used for Elvis Presley's biggest hit: "Love Me Tender," which in itself has become an American standard.
Both of the songs below were written and published prior to the outbreak of hostilities. It's common for songs written years previous to conflicts to achieve new meanings and appreciation during wartime. An example from the World War 2 era is Artie Shaw's rendition of "Begin the Beguine," recorded in 1938, profoundly loved by military personnel throughout the War.
Both songs remain popular. It's difficult to find a western movie without one of these songs appearing; most recently, the celebration scene at the end of Cowboys and Aliens is a 2 step rendition of "Lorena." The melody of "Aura Lee" was used for Elvis Presley's biggest hit: "Love Me Tender," which in itself has become an American standard.
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Lorena (1856)
(Inspired by Edgar Allan Poe's story "Lenore") Words: Rev. Henry D. L. Webster Music: John P. Webster (no relation) Oh, the years creep slowly by, Lorena, The snow is on the ground again. The sun's low down the sky, Lorena, The frost gleams where the flow'rs have been. But the heart beats on as warmly now, As when the summer days were nigh. Oh, the sun can never dip so low A-down affection's cloudless sky. A hundred months have passed, Lorena, Since last I held that hand in mine, And felt the pulse beat fast, Lorena, Though mine beat faster far than thine. A hundred months, 'twas flowery May, When up the hilly slope we climbed, To watch the dying of the day, And hear the distant church bells chime. We loved each other then, Lorena, Far more than we ever dared to tell; And what we might have been, Lorena, Had but our loving prospered well -- But then, 'tis past, the years are gone, I'll not call up their shadowy forms; I'll say to them, "Lost years, sleep on! Sleep on! nor heed life's pelting storms." The story of that past, Lorena, Alas! I care not to repeat, The hopes that could not last, Lorena, They lived, but only lived to cheat. I would not cause e'en one regret To rankle in your bosom now; For "if we try we may forget," Were words of thine long years ago. Yes, these were words of thine, Lorena, They burn within my memory yet; They touched some tender chords, Lorena,Which thrill and tremble with regret. 'Twas not thy woman's heart that spoke; Thy heart was always true to me: A duty, stern and pressing, broke The tie which linked my soul with thee. It matters little now, Lorena, The past is in the eternal past; Our heads will soon lie low, Lorena, Life's tide is ebbing out so fast. There is a Future! O, thank God! Of life this is so small a part!' Tis dust to dust beneath the sod; But there, up there, 'tis heart to heart. from the Public Domain |
Aura Lee (1861)
Music by George R. Poulton Lyrics by W. W. Fosdick When the blackbird in the Spring, 'On the willow tree, Sat and rocked, I heard him sing, singing Aura Lea. Aura Lea, Aura Lea, Maid with golden hair; Sunshine came along with thee, And swallows in the air. In thy blush the rose was born, Music, when you spake, Through thine azure eye the morn, Sparkling seemed to break. Aura Lea, Aura Lea, Birds of crimson wing, Never song have sung to me, As in that sweet, sweet spring. Aura Lea! the bird may flee, The willow's golden hair Swing through winter fitfully, On the stormy air. Yet if thy blue eyes I see, Gloom will soon depart; For to me, sweet Aura Lea Is sunshine through the heart. When the mistletoe was green, Midst the winter's snows, Sunshine in thy face was seen, Kissing lips of rose. Aura Lea, Aura Lea, Take my golden ring; Love and light return with thee, And swallows with the spring. Aura Lea, Aura Lea, Maid with golden hair; Sunshine came along with thee, And swallows in the air. from the Public Domain |
Soldiers' Songs
Soldiers' songs were diverse in content, rhythm, and subjects. Songs about battles, leaders, politics, and military life were frequent. Often expressing the humor that soldiers use to diffuse boredom, tedium associated with military life -- remember that both armies were civilian armies -- and the terrors of war. The tone of the lyrics ranged from good natured ribbing to the nearly seditious. The earliest published version was published in 1866, but the song was well known by 1864. The composer and lyricist are actually unknown. Note that an early publisher punned with the names P. Nutt and A Pindar [another term for peanut]. The song is a response to the meat and grain shortages. Although remarkably nutritious, eating peanuts three times a day was monotonous.
Goober Peas
A Confederate favorite
Music by P. Nutt
Lyrics by A. Pindar
Sitting by the Roadside on a summer’s day, chatting with my messmates passing time away,
Lying in the shadow underneath the trees, Goodness how delicious, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
When a horseman passes, the soldiers have a rule, To cry out at their loudest “Mister here’s your mule.” *
But another pleasure enchantinger than these, is wearing out your Grinders, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
Just before the battle the General hears a row, He says the Yanks are coming, I hear their rifles now,
He turns around in wonder, and what do you think he sees, The Georgia Militia, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
I think my song has lasted almost long enough, The subject’s interesting, but rhymes are mighty rough,
I wish this war was over when free from rags, and fleas, We’d kiss our wives and sweethearts and gobble goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
Lyrics Courtesy of The Civil War Trust
*There grew a joke between the infantry and the cavalry. A subtler, an authorized salesman, lost his mule while selling various goods. The soldiers ran him all over the camp by yelling "Hey mister, here's your mule!" The pride of the cavalry about their mounts irked the foot soldiers who, for some reason, called out to all passing cavalrymen "Mister, here's your mule!" It became universal throughout the Confederate army. Numerous songs, like "The Cumberland Gap" contain this statement. Such joking is a constant in the American Army, such as the famous "Killroy was here!" during WW2 and the ironic "It don't mean nothing" during the Vietnam War.
Goober Peas
A Confederate favorite
Music by P. Nutt
Lyrics by A. Pindar
Sitting by the Roadside on a summer’s day, chatting with my messmates passing time away,
Lying in the shadow underneath the trees, Goodness how delicious, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
When a horseman passes, the soldiers have a rule, To cry out at their loudest “Mister here’s your mule.” *
But another pleasure enchantinger than these, is wearing out your Grinders, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
Just before the battle the General hears a row, He says the Yanks are coming, I hear their rifles now,
He turns around in wonder, and what do you think he sees, The Georgia Militia, eating goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
I think my song has lasted almost long enough, The subject’s interesting, but rhymes are mighty rough,
I wish this war was over when free from rags, and fleas, We’d kiss our wives and sweethearts and gobble goober peas!
Peas! Peas! Peas! Peas! Eating goober peas! Goodness how delicious, eating goober peas!
Lyrics Courtesy of The Civil War Trust
*There grew a joke between the infantry and the cavalry. A subtler, an authorized salesman, lost his mule while selling various goods. The soldiers ran him all over the camp by yelling "Hey mister, here's your mule!" The pride of the cavalry about their mounts irked the foot soldiers who, for some reason, called out to all passing cavalrymen "Mister, here's your mule!" It became universal throughout the Confederate army. Numerous songs, like "The Cumberland Gap" contain this statement. Such joking is a constant in the American Army, such as the famous "Killroy was here!" during WW2 and the ironic "It don't mean nothing" during the Vietnam War.
The Upidee Song
Music by A. E. Blackmar,
Lyrics by D.G. Knight
Music by A. E. Blackmar,
Lyrics by D.G. Knight
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1. The shades of night were falling fast,
Tra la la! Tra la la! The bugler blew his well-known blast, Tra la la la la No matter be there rain or snow That bugler still is bound to blow chorus: Up-i-de-i de-i da! Up-i-de! Up-i-da! Up-i-de-i de-i da! Up-i-de-i-da! 2. He saw, as in their bunks they lay, Tra la la! Tra la la! How soldiers spent the dawning day Tra la la la la "There's too much comfort there," said he, "And so I'll blow the 'Reveille'." Chorus 3. In nice log huts he saw the light, Tra la la! Tra la la! Of cabin fires, warm and bright, Tra la la la la The sight afforded him no heat, And so he sounded the "Retreat" Chorus From the Public Domain |
4. Upon the fire he spied a pot
Tra la la! Tra la la! Choicest viands smoking hot Tra la la la la Says he, "You shan't enjoy the stew," So "Boots And Saddles" loudly blew Chorus 5. They scarce their half-cooked meal begin Tra la la! Tra la la! Ere orderly cries out, "Fall in!" Tra la la la la Then off they march through mud and rain, P'raps only to march back again Chorus 6. But soldiers, you are made to fight Tra la la! Tra la la! To starve all day and march all night Tra la la la la Perchance, if you get bread and meat That bugler will not let you eat Chorus 7. Oh hasten then, that glorious day Tra la la! Tra la la! When buglers shall no longer play Tra la la la la When we, through Peace, shall be set free From "Tattoo", "Taps", and "Reveille" Chorus |
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Lyrics: Members of the 54th Massachusetts Regiment
Music: Billy Williams' "Hoist the Flag" Fremont told them when the war it first begun, How to save the Union, and way it should be done; But Kentucky swore so hard, and old Abe he had his fears, Till every hope was lost but the colored volunteers. CHORUS: O give us a flag, all free without a slave. We'll fight to defend it as our fathers did so brave. The Gallant Compn'y A will make the rebels dance And we'll stand by the Union if we only have the chance McClellan went to Richmond with two hundred thousand brave. He said, "keep back the niggers," and the Union he would save. Little Mac he had his way -- still the Union is in tears -- NOW they call for help of the colored volunteers. CHORUS Old Jeff says he'll hang us if we dare to meet him armed. A very big thing, but we are not at all alarmed. For he has first got to catch us before the way is clear. And "that is what's the matter with the colored volunteer." CHORUS |
So rally, boys, rally, let us never mind the past; We had a hard road to travel, but our day is coming fast. For God is for the right, and we have no need to fear -- The Union must be saved by the colored volunteer. CHORUS Then here is to the 54th, which has been nobly tried, They were willing, they were ready, with their bayonets by their side, Colonel Shaw led them on and he had no cause to fear, About the courage of the colored volunteer. CHORUS Courtesy: The Civil War Trust |
