We Gotta Get Out of this Place

       "We Gotta Get Out of this Place" has become a symbol of the Vietnam War.  In fact, the song, recorded by the Animals, was used as the intro for the television series Tour of Duty, a dramatic series set on an American base stationed in Vietnam that ran from 1997 through 1990 when there was a resurgence of Vietnam War-themed shows and movies. At first glance, the song appears to be just that, a Vietnam War anthem demanding the U.S. government to withdraw from the Vietnam conflict.  But, at closer look, the lyrics tell a different story.  The song was written by husband and wife team Barry Mann and Cynthia Weil, a productive Brill Building team that started with popular "fluffy" songs such as The Drifters' "On Broadway" and The Crystals' "Uptown."  Examination of the lyrics of "We Gotta Get Out of this Place" reveals that this song really is not much different than "On Broadway" or "Uptown" in that "We Gotta Get Out of this Place" is about a young couple caught in a working-class city slum, trying to make a better life for themselves before the working-class lifestyle literally kills them, like the narrator's father who worked himself to death at a young age.  "On Broadway" and "Uptown" also refer to finding a better life in a better place.  Although "We Gotta Get Out of this Place" resonated with soldiers deployed to Vietnam during that conflict when the song was released, the song generally is more about finding a way out to pursue a better life.  It is understandable that the song became an anthem, and arguably the most requested song on Armed Forces Radio during the Vietnam conflict.  The song clearly relates to the soldiers' need to "get out of that place."  But, this song is a perfect example of the numerous offerings from this time period that were not specifically written as anti-war anthems, but were successfully re-purposed as such.

We Gotta Get Out of this Place

In this dirty old part of the city
Where the sun refused to shine
People tell me there ain't no use in tryin'
Now my girl you're so young and pretty
And one thing I know is true
You'll be dead before your time is due, I know
Watch my daddy in bed a-dyin'
Watched his hair been turnin' grey
He's been workin' and slavin' his life away
Oh yes I know it
(Yeah!) He's been workin' so hard
(Yeah!) I've been workin' too, baby
(Yeah!) Every night and day
(Yeah, yeah, yeah, yeah!)
We gotta get out of this place
If it's the last thing we ever do
We gotta get out of this place
'cause girl, there's a better life for me and you
Now my girl you're so young and pretty
And one thing I know is true, yeah
You'll be dead before your time is due, I know it
Watch my daddy in bed a-dyin'
Watched his hair been turnin' grey, yeah
He's been workin' and slavin' his life away
I know he's been workin' so hard
(Yeah!) I've been workin' too, baby
(Yeah!) Every day baby
(Yeah!) Whoa!
(Yeah, yeah, yeah, yeah!)
We gotta get out of this place
If it's the last thing we ever do
We gotta get out of this place
Girl, there's a better life for me and you
Somewhere baby, somehow I know it
We gotta get out of this place
If it's the last thing we ever do
We gotta get out of this place
Girl, there's a better life for me and you
Believe me baby
I know it baby
You know it too

Writer/s: COOPER, ALICE / EZRIN, ROBERT A. / HOOD, PATTERSON 
Publisher: Universal Music Publishing Group, EMI Music Publishing

Glen Campbell

   

 Glen Campbell is an interesting and unique figure in the Vietnam War era because his statements and his recordings were quite contradictory.  It is difficult to say whether Campbell believed in the sentiments of both “Universal Soldier,” (released in late 1965) a song written by Buffy Sainte Marie in direct response to witnessing wounded soldiers return from Vietnam, and “Galveston,” (released in 1969) a song written by Jimmy Webb as a tribute to a Spanish-American War soldier and the love he left behind.  It would seem from these recordings that Campbell was clearly an anti-war advocate, but he was quoted as saying, “If you don’t have enough guts to fight for your country, you’re not a man.”  If this is the case, Campbell’s anti-war sentiments become fuzzy at best.  Campbell advocates commitment to military action in order to protect America while denouncing anti-war advocates, after releasing two songs that were considered anti-war offerings.  So which camp did Campbell’s sentiments lie?  It is possible that Campbell simply changed his mind.  It is also possible that Campbell released both songs without realizing the anti-war implications of either.  It is yet further possible that Campbell simply recorded songs that were expected to sell, making profit the defining factor in Campbell’s motivations.  This is most likely the answer to the question of Campbell’s motivations for releasing anti-war songs, then denouncing anti-war protesters and draft dodgers.  The truth is, we will never know Campbell’s inner-most thoughts on the Vietnam War because, other than the statement denouncing draft-dodging, Campbell never really indicated his position on the Vietnam War.

The Peace Songs - The Cold War Connection

The Vietnam War soundtrack featured an abundance of anti-war songs, including Edwin Star’s “War” (1970) and Country Joe’s “Fixin’ to Die Rag” (1968).  These songs fit squarely into the box dubbed “Vietnam War Protest Songs.”  But it is not so well-known that many of the peace songs that became popular in the later 1960s were actually written in response to the Cold War and fear of nuclear annihilation rather than as a reaction to America’s involvement in Southeast Asia. For example, Bob Dylan’s “Blowin’ in the Wind,” (1962), “Masters of War,” (1963), and “A Hard Rain’s A-Gonna Fall” (1963) were all written as peace songs well before America entered the hot war in Vietnam and well after America’s exit from Korea.  In fact, Dylan himself stated before playing “Blowin’ in the Wind” at a Greenwich Village nightclub “This here ain’t no protest song or anything like that cause I don’t write no protest songs.”  Of the three, “A Hard Rain’s A-Gonna Fall” is the most obvious of the nuclear testing warnings.  Just by the title alone it is easy to see how the song is related to the realization that the nuclear fall-out from testing was being washed out of the sky through the rain and was literally poisoning the environment.  If anything, this song can actually be considered an early pro-environmental song.  The Vietnam War was barely on the horizon and not on the minds of songwriters like Dylan who were considered the writers of “Protest Songs” at this particular time.

 It is true that the Vietnam War hurried along the popularity of such songs, especially as they found a place in anti-war protests.  But the fact that these songs were written as Cold War offerings actually puts many of these songs in a different category than “Anti-War Songs.”  Indiana University Emeritus Professor of History Ronald D. Cohen concedes “potential devastation from atomic weapons, rather than the looming Vietnam War, mostly occupied the minds of songwriters” in the early to mid-1960s. Promoting peace in light of the Cold War and protesting American involvement in a hot war in Southeast Asia are two very different entities with very different undertones.  The “Peace Movement” did shift to an anti-war stance as things heated up in Vietnam. And there were many songs that were written in this light.  Phil Ochs penned “I Ain’t Marchin’ Anymore,” “The Men Behind the Guns,” and “Draft Dodger Rag,” specifically to protest America’s involvement in Vietnam.  But it was not until “Eve of Destruction” was released by Barry McGuire in late August of 1965 that the union between song and anti-war protest was really cemented, but this was purely an accident, and not the intention of the songwriter.

 The P.F. Sloan-penned “Eve of Destruction” as recorded by Barry McGuire reached Number 1 on the pop charts.  This was the first time that a protest song had reached a wider audience, indicating that the general public was dissatisfied with America’s foreign policies.  However, P.F. Sloan admitted that the song was not an anti-Vietnam War song.  Sloan writes:

The song 'Eve of Destruction' was written in the early morning hours between midnight and dawn in mid-1964. The most outstanding experience I had in writing this song was hearing an inner voice inside of myself for only the second time. It seemed to have information no one else could've had. For example, I was writing down this line in pencil 'think of all the hate there is in Red Russia.' This inner voice said 'No, no it's Red China!' I began to argue and wrestle with that until near exhaustion. I thought Red Russia was the most outstanding enemy to freedom in the world, but this inner voice said the Soviet Union will fall before the end of the century and Red China will endure in crimes against humanity well into the new century! This inner voice that is inside of each and every one of us but is drowned out by the roar of our minds! The song contained a number of issues that were unbearable for me at the time. I wrote it as a prayer to God for an answer.

I have felt it was a love song and written as a prayer because, to cure an ill you need to know what is sick. In my youthful zeal I hadn't realized that this would be taken as an attack on The System! Examples: The media headlined the song as everything that is wrong with the youth culture. First, show the song is just a hack song to make money and therefore no reason to deal with its questions. Prove the 19-year old writer is a communist dupe. Attack the singer as a parrot for the writers word. The media claimed that the song would frighten little children. I had hoped thru this song to open a dialogue with Congress and the people. The media banned me from all national television shows. Oddly enough they didn't ban Barry. The United States felt under threat. So any positive press on me or Barry was considered un-patriotic. A great deal of madness, as I remember it! I told the press it was a love song. A love song to and for humanity, that's all. It ruined Barry's career as an artist and in a year I would be driven out of the music business too.

Sloan even asserted that the song’s intention was not to protest the Vietnam War nor the American government and its foreign policy.  Sloan cites the Cold War as well in his inspirations for the song as the enemies to American freedom are the Communist countries of Russia and China.  Although “Eve of Destruction” became a symbol of protest against the American government and its foreign policies specifically in Southeast Asia, this was not the songwriter’s intention.  Therefore, “Eve of Destruction” was just as much a “peace song” written in response to the Cold War as was “A Hard Rain’s A-Gonna Fall.”  In fact, “Eve of Destruction” addresses the threat to American freedoms, much as the country-western songs of the time reminded their listeners of pride in the American way of life.  In this light, "Eve of Destruction" can actually be compared to the rockabilly Chuck Berry's “Back in the U.S.A” as a patriotic song about America's greatness.