There are details of all our current and recent series on the home page.
This article is part of the series reviewing “The Philosophy of Modern Song”. In this case considering “The Whiffenpoof Song.”
by Tony Attwood
This series of articles takes the songs that Bob Dylan discussed in his post-Nobel Prize book, “The Philosophy of Modern Song” and looks at the songs he selected, rather than attempting to review Bob’s own comments on the songs. And, just in case you have not had a chance to listen to the songs in question, at least one recording of each song is included in each article.
I have found this interesting, not just because these are the songs that have influenced Bob in some way, but because the range of songs he chose for his book really is extraordinary. Additionally, and specifically in relation to this song, the point is made that song lyrics do not have to mean anything. They might do, but they don’t have to, and I do feel that in adding this song to his “Philosophy” book Bob is making that point. Which in turn, I feel, should influence the way in which we hear and attempt to comprehend the lyrics of Bob’s own songs.
Plus, I would add here if I may, one other observation. If you have not taken a look at the last piece in this series (Mack the Knife. Prepare for a shock) then I do hope you might have a moment to do so, not in any way because I wrote it, but because it really is a remarkable story, and the recordings are really eye catching (or is that “ear opening”? One or the other).
But also, I would suggest that such a review might prepare you for the “The Whiffenpoof Song” written by Tod B. Galloway, Meade Minnigerode and George S. Pomeroy and performed here by Bing Crosby.
“The Whiffenpoof Song” itself dates back to the turn of the 19th/20th century, and although not the oldest song Bob selected, it is one of the older songs Bob chose for this post-honourary doctorate book being over 100 years old.
The song was originally designed to be sung unaccompanied by three or four male voices in harmony, and is based on Rudyard Kipling’s poem “Gentlemen Rankers”. It quickly became the ensemble’s best-known song, which at one time included none other than Cole Porter in its membership. Students would compete for the right to be in the group, and being a member was a source of both notoriety and honour.
The song ends
We're poor little lambs who've lost our way, Baa! Baa! Baa! We're little black sheep who've gone astray, Baa—aa—aa! Gentlemen-rankers out on the spree, Damned from here to Eternity, God ha' mercy on such as we, Baa! Yah! Bah!
a set of lines that became famous in their own right, and would be sung by mothers putting their children to bed, both in the United States and the UK.
The original song contained more lyrics than that of course, although, save for with music historians, they are now forgotten. Here is the full set
To the tables down at Mory's, To the place where Louis dwells, To the dear old Temple Bar We love so well, Sing the Whiffenpoofs assembled With their glasses raised on high, And the magic of their singing casts its spell. Yes, the magic of their singing Of the songs we love so well: "Shall I Wasting" and "Mavourneen" and the rest. We will serenade our Louis While life and voice shall last Then we'll pass and be forgotten with the rest. We are poor little lambs Who have lost our way. Baa! Baa! Baa! We are little black sheep Who have gone astray. Baa! Baa! Baa! Gentlemen songsters off on a spree Damned from here to eternity God have mercy on such as we. Baa! Baa! Baa!
According to Whiffenpoof historian James M. Howard, quoted in Wikipedia, the comedian Joseph Cawthorn (1868 – 1949) would tell the tale, in a piece of nonsense poetry, of how he caught a whiffenpoof fish saying, “A drivaling grilyal yandled its flail, One day by a Whiffenpoof’s grave.”
By the time the song reached me as a child, it was reduced to the six lines starting “We are poor little lambs….” and of course, multiple decades later, I still remember it, as indeed many people can recall the songs they were sung as a child.
But the issue that is raised here goes far deeper, for it brings to us the question of whether the lyrics of songs have to mean anything at all. Indeed, as we have noted before (and as I was just reminded by my computer, which insists on giving me an AI feed when I do a Google search, “Dylan himself suggested some lyrics felt ‘ghost’ written, while others are pointedly clear, showcasing his range from protest to poetic ambiguity.
It then goes on to quote me, which I am not sure if I should be honoured by or horrified by, but I guess it does mean that AI has caught up with this website, a fact of which I am rather pleased.
Anyway, more to the point, the article also stated that Dylan’s work often “features dreamlike verses, bizarre characters (like the “jelly-faced women”), and abstract narratives that defy simple interpretation, serving more as evocative experiences than literal stories.” Which, I guess we know, and which we can now link back to “The Whiffenpoof Song” as this is indeed reminding us that his choice of phrases and songs without clear and direct meanings is continuing a tradition that goes back many centuries.
Here is an example: Louis Armstrong’s “Heebie Jeebies“
Say, I've got the Heebie I mean the Jeebies Talking about The dance, the Heebie Jeebies Do, because they're boys Because it pleases me to be joy Say, don't you know it? You don't know 'bout; don't be blue Someone will teach you Come on and do that dance They call the Heebie Jeebies dance Yes, ma'am Papa's got the Heebie Jeebies dance
So we take the message that I guess most of us who love the work of Dylan have realised for some time: songs don’t have to make sense.
Thus, I would take it that Bob, though selecting “The Whiffenpoof Song” is indeed reminding us that his choice of phrases and songs without clear and direct meanings, is simply continuing a tradition that goes back many centuries. And there is nothing wrong with that. Indeed, quite the reverse.
Previously in this series
- Cheaper to Keep Her
- CIA Man – the Fugs
- Detroit City
- Don’t let me be misunderstood
- Dirty Life and Times
- Detroit City
- Dirty Life and Times
- Don’t let me be misunderstood
- I got a woman
- I’ve always been crazy
- Jesse James and Po Boy
- Keep my Skillet Good and Greasy
- Mac the Knife
- Money Honey
- My Generation and Desolation Row
- Nellie was a Lady
- Old Violin by Johnny Paycheck
- On the road again (save a horse)
- Pancho and Lefty
- Please don’t let me be misunderstood
- Poor Little Fool
- Pump it up
- Saturday night at the movies
- Strangers in the Night
- Take Me from This Garden of Evil
- The Pretender
- The Whiffenpoof Song
- There stands the glass
- Tutti Fruiti (A wap bop a … etc)
- Waist Deep in the Big Muddy
- When
- Where or When
- Willy the Wandering Gypsy and Me
- Without a song