007 – Triplicate

007. Triplicate. April 16, 2017. Undisclosed Bunker.

  • “Stardust” 
  • (3:00) How did you feel? / Kelly liked it a lot, listened to it over and over / Daniel: not so much. Not the biggest fan of Fallen Angels or Shadows in the Night.  / Thematic link between the record [post photo of discs and songs] / I understand the mood but I’m never in that mood; I like what Dylan has to say so I’d want that. If I get this, it’s fine, it just is what it is. / 
  • (7:15) BobDylan.com interview / find out who Bill Flanagan is and post it here!
    • (8:30) The 5 questions as read by Kelly and as acted by me!

    • (9:40) On question 1: I don’t think he’s disowning his experiences of the 1960s, just that he wished he had the wisdom and foresight to say what needed to be said on one side instead see the difference between Blonde on Blonde and John Wesley Harding… 
    • (11:10) Question 2
    • (11:35) Question 3 why just he 
    • (12:15) Question 4 I think this is quite profound, much more personal / there’s enough of my personality in the songs;” mostly melodies and arrangement;” non-materialistic” / Pepsi coopting Black Lives Matter, selling a brand underneath social justice / these songs, 80 years divorced, don’t feel like that; out of that mainstream grind” quote
    • (14:25) Question 5: nostalgia / the tour never ends (followed by Frank Turner’s I Am Disappeared”) / my thoughts on the efficacy of a Great American Songbook” and nostalgia as a disease in this country today
  • (16:48) Discussion of the songs
    • Dylan quote on themes / talk about how we feel about the themes or if it sounds like one record / we’ve seen so many sides of Bob Dylan now /
    • (19:00) Kelly loves that style of music & the history / I had to try to work back to the 30s some have transcended but not many / (19:40) How does it feel to listen to these? How does the arrangement & sound compare to like Holiday & Sinatra? 
    • (20:15) The (brief) history of music / Scott Joplin / ragtime and sheet music until early 1900s with phonograph and wax cylinders / poor people can’t afford to go to concerts it opened shit up to the public / 1900 recording of Thai music in Berlin / radio technology / references to Westworld and Boardwalk Empire cause we lookin for HBO money? / in No Direction Home they reference this era where the lyrics and the music were more important than the singer the great orchestras: Glenn Miller, Kid Ory, King Oliver and His Orchestra, and Kid Rock! (who actually performed with the Detroit Symphony Orchestra). / Kelly heaps praise / I agree that it’s incredible to think of Dylan just wanting to be on the same list as Sinatra or Holiday or Coltrane or Bennett if he wasn’t immortalized enough!
    • (25:50) Dylan feels like he was born in the wrong time that’s why there’s no direction home, no direction back there. / His influences are strange: this because it was ubiquitous and then Little Richard on the other hand / quote him on how he couldn’t write this kind of music but was glad it was and Flanagan mentioning Moonlight” and Bye & Bye” as examples that draw closer to this style but are very Dylan
    • (27:45) The Best Is Yet to Come” almost blues” (Rolling Stone) / the” Sinatra song last he played live and on his tombstone / 
    • (29:20) Spotify sampler and this being a shorter album:
      • My favs: I Guess I’ll Have to Change My Plan, Sept. of my Years, I Could Have Told You, PS I Love You, The Best Is Yet to Come, Day In Day Out and Stardust
      • Kelly: Stormy Weather, This Nearly Was Mine, When the World Was Young, You Go to My Head and Best Is Yet to Come  
    • (31:00) Back to Rolling Stone and the blues / Kelly doesn’t hear the blues in feeling or style she hears big band / see Outlaw Blues” for our first (of many) talks on the blues / water-down blues? (32:50) / 
    • (33:00) Talking about Dylan’s band (do a quick overview)
    • (36:00) None of this sounds sad” to us excited, or going to a fancy dinner, or on Boardwalk Empire 
    • How did it take 37 minutes to even mention Fallout?! / Dean Martin / Ink Spots / then this style that was happening around then / The Sounds of the Barbershop” brought to you by SuperCuts (38:40) 
    • (39:15) Relationships with the places one grows up? Does it make him think back, romanticize? How does this apply to us with Virginia, with CO, with FL? (“Dink’s Song” underneath)
    • (41:30) It’s like an alien singing songs to me.” / Quote Dylan on rock music, dangerous weapon, atomic bombs, zoom and doom” 
    • (42:10) The end + a confession! We picked two classics erronously: 1st was wrong number and it was Another Side of Bob Dylan / for all my truthtelling, I’m playing Positively 4th Street” in my head about Kelly face with tears of joy 
    • (44:00) Recommendations (beyond Fallout) 
      • Kelly: Blossom Dearie
      • Daniel: Emperor of Sand and Five Came Back
    • (47:40) Kelly’s pick: 132 the right # was 93 King of France”



  • Ideas
    • Don’t forget his crazy interview on his website about the album
    • Read some reviews online too
    • Take what he said about Hibbing in No Direction Home and compare to this old, lost, different America does Dylan long for this, just want to be in the catalog of classic singers, obsessed with this   period, does it portend to the next phase of Dylan, post-Tempest?)
    • He’ll be up there as one of those distinctive interpreters of the Great American Songbook.
    • Love the voice / love that it’s recorded live / though is it overkill?

Liked songs:
  • Disc 1
    • I Guess I’ll Have to Change My Plan
      • Published in 1929
      • Music: Arthur Schwartz, Lyrics: Howard Dietz
    • September of My Years (on the nose to the album, why its here, fits in with Tangled” and Cold Irons” and love & divorce)
      • Music: Jimmy Van Heusen; Lyrics: Sammy Cahn (1965)
      • Introduced by Sinatra for 65 record of the same name
    • I Could Have Told You
  • Disc 2
    • P.S. I Love You
      • Music: Gordon Jenkins; Lyrics: Johnny Mercer (1934)
    • The Best Is Yet to Come
      • Music: Cy Coleman; Lyrics: Carolyn Leigh (1959)
      • Sinatra sung it in 64 with Count Basie
      • Last song Sinatra sang in public (1995) and the words are etched on his tombstone
      • “almost blues” Rolling Stone
      • It’s such an old-fashioned phrase, you wouldn’t think anybody could do anything with it. The best is yet to come” could be both a threat and a promise; the lyrics sort of insinuate that even though the world is falling down, a better one is already in its place. The song kind of levitates itself, you don’t have to do much to get it off the ground. I like all of Carolyn Leigh’s lyrics too; she wrote the lyrics to Stay with Me.” Dylan
  • Disc 3
    • Day In, Day Out
      • Music: Rube Bloom; Lyrics: Johnny Mercer (1939)
    • Stardust
      • Music: Hoagy Carmichael; Lyrics: Mitchell Parish (1927)
      • 1,500 recordings
      • The 1927 original (sans lyrics) was chosen to be part of the Library of Congress’ National Recording Registry in 2004
  • Stormy Weather
    • “Stormy Weather” gets a really elaborate arrangement a dramatic drone, like a submarine resolving into Hawaiian guitar. (Bill Flanagan) 
  • This Nearly Was Mine
  • When the World Was Young
  • You Go to My Head
    • Music: J. Fred Coots; Lyrics: Haven Gillespie (1938)

  • Rolling Stone 
    • When Dylan issued his first set of Sinatra-related songs, 2015’s Shadows in the Night, the project reflected the history of American music’s oldest cultural war; the songs Dylan chose for that album, and a follow-up volume, last year’s Fallen Angels, showed how well he understood Sinatra and the rarefied Great American Songbook” era of Tin Pan Alley and Broadway musicals. When the rise of outsider forms country music, rhythm & blues, rockabilly displaced all that in the 1950s, some reacted as if barbarians had stormed the gates. Sinatra was among them. Rock & roll smells phony and false,” he said. Dylan, though, had done something even more radical maybe worse and he knew it. Tin Pan Alley is gone,” he said in 1985. I put an end to it. People can record their own songs now.”
  • NOW
    • Dylan, his ace band, a horn section and arranger James Harper imbue new mystery into these old songs, captured live off the floor and organized into three thematic 10-song sequences. Moody and alluring, the album can be enjoyed by just about anyone, anywhere. But for a Dylan fan, it’s the next piece in the perplexing puzzle that is his recent discography.

Highlights from interview at BobDylan.com with Bill Flanagan
  • Each disc is 32 minutes long you could have put it all on 2 CDs. Is there something about the 10 song, 32 minute length that appeals to you?
    • Sure, it’s the number of completion. It’s a lucky number, and it’s symbolic of light. As far as the 32 minutes, that’s about the limit to the number of minutes on a long playing record where the sound is most powerful, 15 minutes to a side. My records were always overloaded on both sides. Too many minutes to be recorded or mastered properly. My songs were too long and didn’t fit the audio format of an LP. The sound was thin and you would have to turn your record player up to nine or ten to hear it well. So these CDs to me represent the LPs that I should have been making.
  • There’s enough of my personality written into the lyrics so that I could just focus on the melodies within the arrangements. 
  • Are you concerned about what Bob Dylan fans think about these standards?
    • These songs are meant for the man on the street, the common man, the everyday person. Maybe that is a Bob Dylan fan, maybe not, I don’t know.
  • how non-materialistic.
  • They take you out of that mainstream grind where you’re trapped between differences which might seem different but are essentially the same. Modern music and songs are so institutionalized that you don’t realize it. These songs are cold and clear-sighted, there is a direct realism in them, faith in ordinary life just like in early rock and roll.
  • What does a drummer coming into your band need to know? What should he avoid?
    • No one comes into my band. I like the drummer I have now, he is one of the best around, but if he ever left me for some reason, like to join The Rolling Stones or something, I’d have to replace him. 
  • “Braggin’” was done by Duke Ellington in 1938 it’s the sort of big band swinging blues that led directly to rock and roll. As a kid, did rock and roll feel like a new thing to you or an extension of what was already going on?
    • Rock and roll was indeed an extension of what was going on the big swinging bands Ray Noble, Will Bradley, Glenn Miller, I listened to that music before I heard Elvis Presley. But rock and roll was high energy, explosive and cut down. It was skeleton music, came out of the darkness and rode in on the atom bomb and the artists were star headed like mystical Gods. Rhythm and blues, country and western, bluegrass and gospel were always there but it was compartmentalized it was great but it wasn’t dangerous. Rock and roll was a dangerous weapon, chrome plated, it exploded like the speed of light, it reflected the times, especially the presence of the atomic bomb which had preceded it by several years. Back then people feared the end of time. The big showdown between capitalism and communism was on the horizon. Rock and roll made you oblivious to the fear, busted down the barriers that race and religion, ideologies put up. We lived under a death cloud; the air was radioactive. There was no tomorrow, any day it could all be over, life was cheap. That was the feeling at the time and I’m not exaggerating. Doo-wop was the counterpart to rock and roll. Songs like In the Still of the Night,” Earth Angel,” Thousand Miles Away,” those songs balanced things out, they were heartfelt and melancholy for a world that didn’t seem to have a heart. The doo-wop groups might have been an extension, too, of the Ink Spots and gospel music, but it didn’t matter; that was brand new too. Groups like the Five Satins and the Meadowlarks seemed to be singing from some imaginary street corner down the block. Jerry Lee Lewis came in like a streaking comet from some far away galaxy. Rock and roll was atomic powered, all zoom and doom. It didn’t seem like an extension of anything but it probably was.
  • The first two discs are fun, but it’s on the third disc that you really get into the heart-bearing stuff, and your best singing. Why save the best for last?
    • It seems that way because it’s a human story that builds to a climax and it’s personal from end to end. You start out wondering why you bought those blue pajamas and later you’re wondering why you were born. You go from the foolishly absurd to the deadly serious and you’ve passed through the gaudy and the nasty along the way. You get to the edge and you’re played out and you wonder where’s the good news? Isn’t there supposed to be good news? It’s a journey like the song Skylark,” where your heart goes a-journeying over the shadows and the rain. And that’s pretty much it. It’s a journey of the heart. The best had to be saved for last.
  • The Beatles also wrote a song called P.S. I Love You.” Tossin’ and Turnin’” by Bobby Lewis repurposed I Couldn’t Sleep a Wink Last Night.” The first ten years of rock songwriters were students of the music that came before but from about 1970 on, all the new rockers knew was rock, maybe a little blues. What was lost?
    • From 1970 till now there’s been about 50 years, seems more like 50 million. That was a wall of time that separates the old from the new and a lot can get lost in this kind of time. Entire industries go, lifestyles change, corporations kill towns, new laws replace old ones, group interests triumph over individual ones, poor people themselves have become a commodity. Musical influences too they get swallowed up, get absorbed into newer things or they fall by the wayside. I don’t think you need to feel bummed out though, or that it’s out of your clutches you can still find what you’re looking for if you follow the trail back. It could be right there where you left it anything is possible. Trouble is, you can’t bring it back with you, you have to stay right there with it. I think that is what nostalgia is all about.
  • Some people would call Triplicate nostalgic.
    • Nostalgic? No I wouldn’t say that. It’s not taking a trip down memory lane or longing and yearning for the good old days or fond memories of what’s no more. A song like Sentimental Journey” is not a way back when song, it doesn’t emulate the past, it’s attainable and down to earth, it’s in the here and now.
  • “My One and Only Love” is a rewrite of a song called, Music from Beyond the Moon.” The original version was a flop, so a new lyricist came in and put in a whole new set of words to the melody and the second time it was a hit. When that happens with folk or blues songs, it’s called the folk tradition; when it happens with rock songs, people yell about plagiarism; in hip hop, it’s sampling. But it has always gone on in every form of music, hasn’t it?
    • I’m sure it has, there’s always some precedent most everything is a knockoff of something else. You could have some monstrous vision, or a perplexing idea that you can’t quite get down, can’t handle the theme. But then you’ll see a newspaper clipping or a billboard sign, or a paragraph from an old Dickens novel, or you’ll hear some line from another song, or something you might overhear somebody say just might be something in your mind that you didn’t know you remembered. That will give you the point of approach and specific details. It’s like you’re sleepwalking, not searching or seeking; things are transmitted to you. It’s as if you were looking at something far off and now you’re standing in the middle of it. Once you get the idea, everything you see, read, taste or smell becomes an allusion to it. It’s the art of transforming things. You don’t really serve art, art serves you and it’s only an expression of life anyway; it’s not real life. It’s tricky, you have to have the right touch and integrity or you could end up with something stupid. Michelangelo’s statue of David is not the real David. Some people never get this and they’re left outside in the dark. Try to create something original, you’re in for a surprise.


Kelly #132 – “On A Night Like This”

Real #93 – “King of France”


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