The Philosophy of Modern Song: Where or When

 

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by Tony Attwood

In this series, I am looking at the actual songs Bob selected for his book “The Philosophy of Modern Song”, rather than at his interpretation of the songs in the book – although in this case it seems to me important to go back to what Bob has said, (which I do later in this little piece).

Today I’ve picked out a song that, as far as I recall, I have never heard before.  The song is “Where or when” which came from the movie “Babe in Arms” and is now considered as Wiki says, “part of the Great American Songbook, having been recorded by scores of popular artists over the decades, starting with a successful cover by Hal Kemp and his Orchestra shortly after its debut in 1937.”   Which of course shows just how far out of touch with the Great American Songbook I am – but then I can perhaps excuse myself by not being American.

Ultimately, after everyone else seemed to have recorded it, the song was picked up by Dion and The Belmonts (among many, many, many others) and became a hit in 1960.   Sinatra recorded it in 1945, 1958 and 1966, so obviously rather liked it, and given Bob Dylan’s affection for Sintra’s work I suspect that might be a reason for its inclusion, as well as it being phenomenally well-known and successful as a hit song in America.

For me this is a classic example of writing a song which can be performed with a very memorable and emotional melody; the music itself holds within it the essence of all the emotions expressed in the lyrics.

Part of the longevity of the song has come from the fact that it appears in the musical as the first song in the show, and in the movie of the same name, and as a song in its own right.    And indeed no one seemed particularly to mind that the film and the stage play really didn’t have too much to do with each other, beyond the music.

There is however, (at least for me) an interesting twist in all this in that (as many others have pointed out) you never know if the couple actually meet (although in many versions of the song, the ambiguity is diminished by omitting the final line of the lyrics – as if consumers of popular music can’t cope with uncertainty!!!)

My thinking therefore, is that Bob knows the song because of his awareness of what has become known as the “Great American Songbook” and because of his engagement with Sinatra’s work.   But it is also interesting to note that there is enough in the music to allow many famous artists to record instrumental versions also.

This version by Dave Brubeck is one I came across in my teenage years – my father was a classically trained pianist who also performed in a touring dance band and although my memory can be faulty on such things (and sadly my father passed away some years ago so I can’t check with him) but I do seem to recall him playing this at our home.

But it is also interesting that the lyrics of the song are really extraordinarily simple, and yet they manage to put across the whole notion of uncertainty of whether the event actually took place or not.

Now at this point I should also add that I am writing this series in terms of my own response to the songs selected by Bob Dylan, rather than taking his comments and then commenting upon those.  But here I want to add something else.  If you have time, do listen to this…

For myself, I don’t see Bob as “fighting the same old battle” but maybe that is how he sees things.

Here are the lyrics of the full version

When you're awake the things you think
Come from the dream you dream
Thought has wings, and lots of things
Are seldom what they seem

Sometimes you think you've lived before
All that you live today
Things you do come back to you
As though they knew the way

Oh the tricks your mind can play

It seems we stood and talked like this, before
We looked at each other in the same way then
But I can't remember where or when

The clothes you are wearing are the clothes you wore
The smile you are smiling you were smiling then
But I can't remember where or when

Some things that happened for the first time
Seem to be happening again

And so it seems that we have met before
And laughed before, and loved before
But who knows where or when

If you would like to write an article about Bob’s views on any one song, as expressed in the book, or indeed on a whole series of songs, please do send an article along with any background notes you want to add to Tony@schools.co.uk

The Philosophy of Modern Song

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