Songs of War
Song Themes
Sentimental Songs
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Sentimental songs expressed a longing for a reunion between soldiers and their families, and lamented the Canadian losses in battle. These songs were composed predominantly in the later years of the war, when Canadians were more aware of the realities of war. The lyrics assumed different perspectives, from the soldier thinking about home, to mothers and children waiting for the return of loved ones, and even songs in honour of those who would not return from war. Due to their storytelling nature and somber tone, sentimental songs were not marches but ballads, sometimes composed as waltzes.
There are sentimental songs that consider the perspective of the soldier thinking about their prewar days and those they left behind in Canada. The song “Goodbye Mother Dear,” composed in 1916 by Morris Manley, is described on the cover as "The Sweetest of Mother Songs." It tells the story of a son enlisting for the war and leaving his mother behind. Once overseas, he writes a letter which reads, “Don’t worry dear we’ll save the flag we love so well Now mother, have good cheer.” The song also considers the impact of the war on those at home by including the perspective of the mother looking at “His photograph upon the wall” and keeping her son in her thoughts while he is away. Another popular song that expressed a similar sentiment, entitled “Home Again,” was composed in 1917 by Will J. White and Jules Brazil. This song connects the experiences of Allied soldiers of different nationalities by explaining that they all thought of home, and sang songs they remembered from “days of long ago.” As the chorus goes, their favourite song is, “Home again, Home again, That’s the song we love to sing...the songs that bring back memories, Home again, Home again That’s the song of the world to me.” The song makes reference to the Canadian soldier, or “Johnny Canuck,” who sings “O Canada” while thinking of home.
Supporting the British Empire
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The relationship between the British Empire and Canada is one of the central themes of the popular songs included in the timeline. From the early years of the war, there was an emphasis on the historic ties between Britain and Canada in order to encourage voluntary enlistment. The patriotic messages found in this group of songs were directed at Anglo-Canadians, who were expected to show support for ‘King and Country’ in wartime. The lyrics include many references to symbols of Britain and portray a sense of unity between Britain and Canada due to their shared democratic values. In many cases, the cover art of the sheet music features illustrations of colourful British symbols represented within the song’s lyrics. Most of these patriotic songs were composed in typical march form with an upbeat tempo, evoking a stirring call to action. There are a few popular songs in the collection that provide particularly strong examples of songs that highlighted the importance of supporting the British Empire.
Establishing a Canadian Identity
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Popular songs with a strong patriotic tone not only emphasized support for the British Empire, but some encouraged Canadians to fight for the freedom of their own country. The messages portrayed through these songs contributed towards a distinct image of Canadian identity. There were efforts during the war to establish a sense of national identity, and music was one way through which common values were promoted to Anglo-Canadians. Although the lyrics and cover art attempted to represent identifying features as unique to Canada and different from Britain, there was no distinct Canadian sound.
One of the distinguishing features of Canada described in popular songs was the country’s landscape. Many songs allude to Canada’s vast territory by emphasizing that those from ‘coast to coast’ supported the war and enlisted for service overseas. “Johnnie Canuck’s the Boy,” composed in 1915 by Jean Munro Mulloy, is a martial song with an intended purpose of recruitment. The lyrics emphasize the widespread call to action across Canada, “From where the Rocky mountains dip And virgin prairies sweep, From Arctic rim to Scotia’s tip, Our call is o’er the deep.” A verse from “Boys from Canada,” composed in 1915 by Alberta-Lind Cook, also mentions Canada’s landscape, but this time in reference to the country looking forward to the day when the soldiers would return. The lyric states, “And Canada will sing with joy of life from shore to shore, The mountain side and prairie wide Will see their own once more.” These popular songs demonstrate that the messages of Canadian unity in wartime were tied to the landscape.
Another common element of popular songs that tried to establish a national identity among Canadians was the symbol of the maple leaf. The sheet music covers of “Tipperary Tommy” (1915), “Boys from Canada” and "Johnnie Canuck's the Boy" offer examples of songs that incorporated Canadian imagery through the use of the maple leaf. The lyrics of “Boys from Canada” also discuss the maple leaf on two occasions. Canada is referred to as “The Country of the Maple” when describing the country’s war effort, and the maple leaf is also mentioned in connection with soldiers' uniforms, “‘Tis the Maple Leaf they wear, Emblem of their country fair.”
Gendered Language and Images
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Many of the popular songs composed in Canada during the First World War expressed gendered notions of war. The song lyrics consider the masculine duty of becoming a soldier, as well as the roles and expectations of women in wartime. The cover art for these songs include gendered images of the messages portrayed through the music. Popular songs with the principal theme of gender were published throughout the years of the war.
At the time of the First World War, it was important for Anglo-Canadian men to demonstrate their ‘manliness’ within society, and war was viewed as the ultimate test of manhood. Popular songs were one way in which the message of being ‘manly’ and enlisting was promoted, predominantly through the lyrics. The song “Soldier Lad,” composed in 1914 by W.H. Stringer and Charles W. Lorriman, emphasizes many of the valued traits that men displayed as soldiers, including bravery, pride, and loyalty. The chorus is written from the perspective of a soldier’s sweetheart, who praises him for supporting the war and awaits his return, “Soldier lad I’m proud you’re leaving...I shall yearn for your returning you’re so brave my soldier lad.” This song reinforces societal expectations for men to enlist by highlighting elements of a ‘manly’ man and including the perspective of women who encouraged men to fight.
Another song that describes the masculine soldier is “Khaki,” composed in 1915 by Gordon V. Thompson. This song focuses on the uniform as a visual display of ‘manliness’ for soldiers. The song explains, “Khaki is always stylish, Now you see it ev’rywhere! Khaki is right for the men who fight It’s the color our soldiers wear!” This song also draws upon many of the traits soldiers were expected to demonstrate, particularly in the chorus, “And the man who’s dressed in khaki Is a man We’re proud to know! For he fights to guard the Empire, Our gallant soldier lad! Let us cheer him along with a rousing song The man in the khaki clad.” Masculinity and martial values were further linked by the musical elements of the song, played in typical march fashion.
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Upon a closer examination of the popular songs included in the timeline of Anglo-Canadian music during the First World War, it is clear that many of the same messages appear throughout. The four main themes identified in the timeline include supporting the British Empire, establishing a Canadian national identity in wartime, gendered language and images, as well as sentimental songs about war. This page offers a more detailed analysis of these themes by considering the lyrics, musical elements, and cover art of popular songs. These songs reveal the messages that composers and publishers believed would resonate with Anglo-Canadians during wartime, and many Canadians on the home front were exposed to these messages throughout the war.
One of the earliest songs published that emphasized the British Empire was “The Best Old Flag on Earth,” composed by Charles F. Harrison in 1914. The most striking feature of the sheet music is the cover page decorated with the Union Jack in bright colours, designed to stand out among other pieces of sheet music. The central message of the song is for the countries of the Empire to stand by the British and fight for “the old Union Jack, the Best old flag of all.” The chorus establishes the connection between Britain and Canada in particular, and assures that Canada will support Britain in war. Although the song mentions fighting “For the Maple leaf, Our emblem dear” and evokes the tune of the “Maple Leaf Forever” to accompany this line, it is clear that, in the end, Canada would be fighting on behalf of Britain “And the best old Flag on earth.”
"The Best Old Flag on Earth,"
1914, wartimecanada.ca.
"Stand By the Union Jack,"
1914, wartimecanada.ca.
"Good Luck to the Boys
of the Allies," 1915, wartimecanada.ca.
Anglo-Canadian popular songs with messages of support for the British Empire continued to be composed as the war dragged on, in order to maintain morale and encourage voluntary enlistment. In 1916, Will J. White composed “Hats Off to the Flag and the King,” which features lyrics arranged according to the letters in each of the words ‘Briton’ and ‘Canada.’ The cover art of the sheet music depicts a man tipping his hat towards an image of the Union Jack, with an insert of King George V. The focus on loyalty to Britain remains throughout the song, even in the case of the lyrics for the letters that spell out ‘Canada.’ The final line of the chorus declares, “Whil’st the Maple Leaf is our Emblem dear Hats off to the Flag and the King.”
The message of supporting the British Empire was apparent in the lyrics, melody, and cover art of many Anglo-Canadian popular songs. They reveal that composers and publishers believed an emphasis on imperial ties would be a motivating force for enlistment and support of the war in Canada.
"Hats Off to the Flag
and the King," 1916, wartimecanada.ca.
"Tipperary Tommy," 1915, wartimecanada.ca.
"Boys from Canada," 1915, library.mcmaster.ca.
The song that, perhaps, best characterized a Canadian national identity is “I Love You, Canada,” composed by Morris Manley and Kenneth McInnis in 1915. The cover features a colourful map of Canada, establishing the song as a Canadian tune. This song was very successful, and was ideal for sing-alongs, as the melody is simple, within range for the average person to sing, while the lyrics are overtly patriotic. The song is written from the perspective of a soldier thinking about everything he loves about home, “I love your hills and valleys and your stately Maple tree, I love all your dear people tho’ far away I roam, When I hear them speak of Canada, I long for Home Sweet Home.” This verse highlights each of the aforementioned elements that contributed towards establishing a uniquely Canadian identity.
"I Love You, Canada," 1915, wartimecanada.ca.
A woman’s role during war was to encourage men, including husbands, sons, brothers, and neighbours, to enlist. Many popular songs evoked these gendered roles for Anglo-Canadian women in wartime. The song “I’ll Come Back to You When My Fighting Days Are Through,” composed by Frank O. Madden in 1916, is written from the perspective of a soldier reassuring the girl he left behind that he would return home to her following the war. According to the lyrics, it was important for women to “smile and be brave while I’m gone For I’ll come back to you when my fighting days are through And the war for our liberty is won.” The sheet music cover art features a soldier and his sweetheart parting ways, but the lyrics emphasize that after doing his duty as a man he would return to her. Songs with similar messages all reinforce the idea of separate spheres in wartime, with men fighting on the front lines and women waiting on the home front.
"I'll Come Back to You When My Fighting Days Are Through," 1916, wartimecanada.ca.
"Why Can't a Girl Be a Soldier," n.d., wartimecanada.ca.
"Remember Nurse Cavell," 1915, library.mcmaster.ca.
"Goodbye Girls," 1918, library.mcmaster.ca.
"Johnnie Canuck's the Boy," 1915, wartimecanada.ca.
"Goodbye Mother Dear," 1916, library.mcmaster.ca.
"Home Again," 1917, library.mcmaster.ca.
One of the most common elements of sentimental songs is the mention of mothers in relation to their sons fighting overseas. The song “When Your Boy Comes Back to You,” composed in 1916 by Gordon V. Thompson, embodies the sentimental song about mothers. The mother in the song is encouraged to “cheer up! Don’t be blue!” while waiting for her son to return, in order to demonstrate “hope and courage for our country’s sake.” The song’s message offered hope to mothers on the Canadian home front by continually emphasizing the line “Till your boy comes back to you.” The cover of the sheet music further reinforces this sense of hope with an image of a soldier returning home to his mother, meeting her at “the old garden gate” as promised.
"When Your Boy Comes Back to You," 1916, library.mcmaster.ca.
The voice of a child longing for the return of their father was also common in sentimental songs during war. One of Morris Manley’s most popular songs, “I Want My Daddy” (1916), was often sung by his young daughter Mildred, pictured on the sheet music cover along with her father. The song tells the story of a young girl filled with sadness over her father’s absence due to the war. The lyrics emphasize the commitment the girl’s father demonstrated by enlisting, and suggests that he was fulfilling his duty to protect her. In the chorus, the girl cries, “I want my Daddy I’m as lonely as can be I want my dear old Dad tho’ he’s far away from me.” The song’s emotional lyrics remind us of the impact of the war on Canadian children.
"I Want My Daddy," 1916, library.mcmaster.ca.
As the war dragged on and the death toll rose, Canadians became more aware of the realities of war, as demonstrated through popular songs. Some sentimental songs acknowledged that there would be men who would not return to Canada, and honoured them with lyrics that told of their sacrifice. “His Name’s on the Roll of Honour,” composed in 1917 by Sergeant J. Bruno, Bomber H. Rose, and John Gray, is a reflective piece with a slow tempo that tells the story of a girl who lost her friend to the war. The song considers the commemoration of soldiers killed in battle, and portrays a sense of grief, “After all these years of gladness, I must struggle on alone, All the sunshine turned to sadness, While my heart feels like a stone.”
"His Name's on the Roll of Honour," 1917, library.mcmaster.ca.
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Sources:
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Canadian Music Trades Journal, 1914-1918
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McMaster University. "World War I Songs: War Songs from the First Half of 20th Century." https://library.mcmaster.ca/archives/exhibits/worldwar.
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Wartime Canada. "Music." wartimecanada.ca.
Another song that explicitly supported the British using the flag symbol was “Stand by the Union Jack,” composed by W.E. Delaney in 1914. The cover once again features the Union Jack, as well as a Canadian soldier in uniform, and is described as “A Marching Song for Canadian Soldiers.” In addition to the usual lyrics that commend Canadian men for enlisting to support Britain, some unique imagery emerges in this song. The comparison between Britain and Canada adopts the symbolism of a lion and its cub with the line, “The old Lion is fighting; see the Cubs rush to his side!” The lyrics further emphasize the connection between Britain and Canada in the context of war by highlighting their common values. The chorus begins, “Stand by the Union Jack, the flag of liberty! And fight for the Empire which allows no tyranny.” This song links liberty and the fight against tyranny with common symbols of the British Empire in an attempt to rouse Anglo-Canadians to war.
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One of the most successful Anglo-Canadian popular songs of the First World War was “Good Luck to the Boys of the Allies,” composed by Morris Manley in 1915. This song encourages those on the home front to support enlistment and offer “good luck to Johnnie Canuck, And all the Allie soldiers,” such as those featured on the sheet music cover. Similar messages of a duty to Britain and fighting for the Union Jack are prominent, and the song is once again a march. However, a distinguishing feature of the song is the inclusion of the melody of “God Save the King” to accompany the lyric “God save our gracious King.” The recording of this song by Herbert Stuart also features a bugle call and drums, marking it clearly as a patriotic song in support of the British Empire at war.
In addition to lyrics that include symbols of Canadian identity, other popular songs portray the idea that Anglo-Canadians united over a sense of duty in wartime. There is an emphasis on local heroes demonstrating their bravery while fighting for the Allies, but representing Canadian values. “Canada, Fall In!” was composed in 1915 by Edward W. Miller, and is described as a “Patriotic Recruiting Song.” The song encourages an active role in war by anyone fit for fighting, and declares that “Canada must never, never lag.” These lyrics portray a certain standard for Canadians to achieve during wartime, contributing to the idea of a shared commitment as a nation. “Boys from Canada” is another patriotic song to be played “con spirito” that emphasized the bravery of Canadian soldiers and the reliance of Britain on Canadians in particular. The second verse provides the strongest example, “From ‘cross the channel comes the call to rally to the fray, For England needs her soldier boys from Canada today; To fight for right with all their might And willing to obey Our brave Canadian soldier boys are up and fast away."
Other popular songs incorporated women into the war more directly by referring to their important roles as nurses. These songs were rarely marches, but rather ballads or waltzes as a result of their storytelling style. The song “Remember Nurse Cavell,” composed in 1915 by Gordon V. Thompson, honoured the memory of the British nurse Edith Cavell who was executed by a German firing squad for helping Allied soldiers escape from occupied Belgium. The lyrics describe her experiences as a nurse, and as a result of her sacrifice she is referred to as “Our martyred Nurse Cavell.” The chorus is a call for soldiers to recognize Nurse Cavell’s duty in wartime and portrays her as a model for not only other nurses but also men in uniform. A song composed by Morris Manley later in the war, “Goodbye Girls” (1918), tells the story of a Red Cross nurse, pictured on the cover waving farewell to her friends in Canada. The second verse highlights the view that women also had an important role to play in wartime, “Please come and help the cause, you are wanted every day, We need the girls as well as men, this war it must be won, It’s up to one and all to help the man behind the gun.”
While many popular songs discussed the accepted roles for women in wartime, one in particular asked, “Why Can’t a Girl Be a Soldier?” This song, composed by Lindsay E. Perrin, considers the contribution women could make as soldiers because they can “carry a gun good as any mother’s son.” The song’s lyrics are clearly from the perspective of a woman on the home front in Canada, and the song suggests that some women felt they should be allowed to contribute more to the war. Despite the view this song represented, wartime roles continued to be assigned along typical gendered lines in Canada.
Another song, entitled “Sacrifice,” composed by Lillian Lundy Green in 1918 also expressed feelings of sadness and grief that were commonplace by this stage of the war. The song was meant to be played at a slow tempo, with feeling, as it tells the story of a mother and father with a son fighting overseas. The parents do not yet know the fate of their son, but are aware that many young men have given their lives during the war. This causes the mother’s worry over her son, described in the second verse, “the gath’ring tear, told of her anguish, Her longing, her fear.” The coda offers a message of peace for the future, in order to avoid the deaths of more young men, “Oh! God in Heaven is it not enough, Remove the strife, change Hate into Love. Then will their sacrifice be complete, And grant us Peace Peace Peace." Sentimental songs such as these ones were likely composed with the intention of helping an audience of Anglo-Canadians in mourning.