Stan Kenton Interview & Blindfold Test [transcript]

00:00:00:00 - 00:00:20:26 Leonard Feather: Other. Okay. the, the official concert. I mean, the official debut that is still, Friday night, June 3rd.

00:00:20:29 - 00:00:27:14 Stan Kenton: No, it’s been changed. The first date learned is, Royce Hall, June 1st.

00:00:27:17 - 00:00:31:24 Unknown Oh. Oh, that will be.

00:00:31:26 - 00:00:32:15 Leonard Feather: That’s a shame.

00:00:32:16 - 00:00:34:19 Stan Kenton: I wish I’d known it’s Wednesday.

00:00:34:22 - 00:00:39:00 Leonard Feather: Just won’t come out until, Let me see. Is that a week from Wednesday?

00:00:39:03 - 00:00:43:23 Stan Kenton: That’s, What is today? A week from today? When,

00:00:43:26 - 00:00:44:19 Leonard Feather: Well, I think.

00:00:44:22 - 00:00:46:19 Stan Kenton: It is a week from today, isn’t it?

00:00:46:21 - 00:00:48:03 Leonard Feather: That’s right.

00:00:48:06 - 00:00:52:09 Stan Kenton: You were going to try to get it in this weekend? Yeah, I wanted to see that would be great to run in the column just.

00:00:52:09 - 00:00:58:28 Leonard Feather: Before everything starts. But, I think I’ll get them to run a separate car in the middle of the week instead of waiting for the weekend.

00:00:59:03 - 00:01:02:29 Stan Kenton: The best thing is, those Sunday papers are so important, you know?

00:01:03:04 - 00:01:07:16 Leonard Feather: Yeah, well, the Royce whole thing I, didn’t hear about.

00:01:07:18 - 00:01:16:09 Stan Kenton: Well, you know, it was switched because of complications of, other performances.

00:01:16:12 - 00:01:19:13 Leonard Feather: but will you still be doing the, the one on campus on the third.

00:01:19:15 - 00:01:20:26 Stan Kenton: Or is that. Yes. It’s cerritos.

00:01:20:29 - 00:01:25:05 Unknown Oh, I see.

00:01:25:08 - 00:01:31:01 Unknown That’s right. Just as well. Right.

00:01:31:04 - 00:01:34:00 Unknown Yeah. You know, so,

00:01:34:03 - 00:01:51:12 Leonard Feather: What amazes me is that all these, tremendous college aged and even high school age talents are coming up and I wonder whether they are not, creating a vast supply for which there’s very little demand. How is that going to be that gap going to be bridged?

00:01:51:14 - 00:02:14:06 Stan Kenton: I, have worried about that a great deal, too. But I think that’s where I think that, first of all, let me say there’s something happening in music today, and I don’t think any of us exactly know what has happened. But there’s a revolution going on. That’s the most incredible thing I’ve ever seen in my life. The young players are such superior players, and they are playing fantastically.

00:02:14:06 - 00:02:33:03 Stan Kenton: And, a young kid today in five years, plays better than his dad, who’s been playing for 15 or 20 years. It’s there’s no doubt about it. Yeah. And you, you look around at this thing, it’s just happening everywhere. It’s just an explosion. Yeah. And, we who have been around music for a long time, you look at these young players, you say, well, where are they going and what are they going to do?

00:02:33:03 - 00:02:53:05 Stan Kenton: Where are they going to get jobs? I don’t know, as I can say, where they’re going to get jobs. But I do know this, that, they rock and roll music and all of the things that we have thought of as being kids music in the last few years. That’s only one portion of the young people’s music, because there’s this other movement going on that is, for a higher and a better grade of music than we find today in professional music.

00:02:53:08 - 00:03:17:26 Stan Kenton: Yeah. And I almost think this, too, that, somehow if a young musician develops too, into a great player, even if he doesn’t decide on music for his vocation or his way of livelihood, it gives him something to prepare himself for. For life that he can’t get any other way. And I just think it’s a good way to look at it.

00:03:17:26 - 00:03:39:11 Stan Kenton: Even though he’s not going to be in professional music, he is better prepared for, whatever direction he does go, because music has helped feed his creative desires and guide him, so that he’s much better than the guy that has never played music. Looked like at how many presidents and vice presidents of big corporations used to be musicians.

00:03:39:13 - 00:04:01:01 Stan Kenton: it’s incredible. Great doctors, designers, architects, all of them. You know, a big majority were at one time musicians. This doesn’t mean necessarily that they, couldn’t make a living in music. So they went into something else. It just meant that, through music. I think it made them creatively aware of things that, are very important, not only themselves, but to the other people that they deal with.

00:04:01:04 - 00:04:03:24 Stan Kenton: So I don’t I’m not so dramatic about where these young people are going.

00:04:03:24 - 00:04:12:19 Leonard Feather: To get, but maybe also, this will at least create, an audience in the sense that those who don’t take, I mean, as a professional at least be part of a potential audience for it.

00:04:12:22 - 00:04:35:12 Stan Kenton: Exactly. Well, that’s another way to look at it, too. I know that the level of young musicians today, as I said a moment ago, are so much higher and they demand so much more. This is a cute little story, but, after the first day at the rehearsal, the near five junior clinic, I was waiting for them to get the guys lined up, and I heard a high trumpet playing summertime, like Maynard does, you know, an octave above.

00:04:35:14 - 00:04:53:13 Stan Kenton: And so I said, who’s playing trumpet? And they said, I don’t know. And so they have a whole line of rehearsal halls, rehearsal rooms, you know, small rooms with little windows. So I went down, thing looking. I said, it’s got to be Brisebois here and playing somewhere. So I went down the hall looking in each window. And finally I like that where the sound was coming from.

00:04:53:15 - 00:05:13:00 Stan Kenton: I looked down and Brisebois was standing there with a piece of paper in his hand. He wasn’t playing, and I looked around the corner and I saw a bell of a trumpet, and I walked in and I, this kid immediately stopped playing as soon as I walked in and but said, no, don’t stop, keep playing. So he started playing this thing, and he was, a young guy.

00:05:13:04 - 00:05:28:07 Stan Kenton: And finally I said, how old are you now? I said, are you in the junior font? And he says, no, I’m not old enough. I said, how old do you have to be to be in the junior? Any fun? He says, you have to be in college. Which is true. They limited it to college musicians. And, he said, I just wish I could be because he says, I don’t know much yet.

00:05:28:07 - 00:05:33:00 Stan Kenton: He says, I haven’t had much experience, you know. So I said, how old are you? He said he was 16 years old.

00:05:33:07 - 00:05:33:24 Leonard Feather: Yeah.

00:05:33:26 - 00:05:35:10 Stan Kenton: It’s unbelievable, you know.

00:05:35:10 - 00:05:37:12 Leonard Feather: Yeah, I’ve seen this many cases.

00:05:37:14 - 00:05:57:15 Stan Kenton: It’s just, and I don’t know, I have for a number of years said that the whole creative direction of, new music is going to come from the universities. But you know what I’m beginning to think about, and I’m beginning to think that the universities are going to be the cultural centers of the communities. Yeah, not only in music, but in drama and all the other forms of art.

00:05:57:18 - 00:05:59:04 Stan Kenton: Yeah, it’s getting to be that well, look at.

00:05:59:04 - 00:06:00:23 Leonard Feather: The number of countries they’re putting on.

00:06:00:25 - 00:06:23:00 Stan Kenton: Right season. And, people, they’re, they’re all of them have big programs now. Yeah. And this thing that’s going on in music, I just don’t know how really to, analyze it, but I just know it’s going crazy. Like this past year, Villanova University, I’ve been back there every year for 5 or 6 years. As you’ve seen these things, you know, these college bands come out this year.

00:06:23:00 - 00:06:34:18 Stan Kenton: They’re not playing old Basie or Woody Herman, arranger Joe Kenton, arrangers. They’ve got their own writers, they got their own music going, and they have their own individuality, their own identity. It’s unbelievable what they do. That’s right.

00:06:34:20 - 00:06:42:13 Leonard Feather: Well, it is encouraging in that sense. I just, as I say, I hope they’ll find something to do with it all. But, even if they don’t, as you say.

00:06:42:13 - 00:07:01:03 Stan Kenton: It’s some value. Yeah, well, I think as I’ve talked before with you, I’ve begun to think that music is, not even an art anymore. You know, don’t talk to me about, literature and drama. When you talk about music, music is something else. You know, I think there’s something to be gained from music that you can’t get from anything else other than maybe a strong faith and a religion.

00:07:01:05 - 00:07:10:14 Stan Kenton: Yeah. And it’s a very important part towards people’s development and, emotional growth sort of thing, except the progress that’s going on in the world.

00:07:10:14 - 00:07:15:03 Leonard Feather: Today to serve on such a wonderful, first of all, your.

00:07:15:06 - 00:07:16:03 Speaker 4 Oh.

00:07:16:05 - 00:07:25:00 Unknown Oh yeah.

00:07:25:03 - 00:07:25:26 Stan Kenton: Talk. Yeah.

00:07:25:28 - 00:07:26:29 Leonard Feather: Go ahead.

00:07:27:01 - 00:07:46:00 Stan Kenton: Well I’d say it was a very expensive try at at a sophisticated jazz record. This guy had everything covered. He had a chorus going, he had a big string section, he had the Latin rhythms and two jazz solos. I think the record is kind of cluttered up. I think that, it’s too, shall we say, affected.

00:07:46:03 - 00:07:54:18 Leonard Feather: Yeah.

00:07:54:21 - 00:08:01:21 Leonard Feather: Did you get enough of the of the soloists personally to assess? No.

00:08:01:23 - 00:08:06:03 Unknown I don’t think. I don’t know.

00:08:06:03 - 00:08:08:01 Stan Kenton: Who played either instrument.

00:08:08:03 - 00:08:14:09 Leonard Feather: I don’t mean to guess who they were. I mean, you do feel that, though, to play that up to that you couldn’t even tell the style?

00:08:14:12 - 00:08:20:25 Stan Kenton: No, I didn’t identify any of it.

00:08:20:28 - 00:08:22:26 Leonard Feather: No further comment.

00:08:22:28 - 00:08:24:02 Stan Kenton: Who was.

00:08:24:05 - 00:08:26:10 Leonard Feather: Well, how would you rate it? Fair for two.

00:08:26:12 - 00:08:27:01 Stan Kenton: What do we got?

00:08:27:01 - 00:08:30:16 Leonard Feather: Five stars for two is fair. Three is good, for is very good, and five is.

00:08:30:16 - 00:08:32:27 Stan Kenton: And so I’d say to.

00:08:32:29 - 00:08:47:16 Leonard Feather: You know, you know, that was a rather.

00:08:47:18 - 00:09:14:26 Stan Kenton: I didn’t enjoy what I just heard, It sounds to me like it could be considered an exercise in orchestration. And I felt that the orchestrator squandered too much orchestral color too fast. It’s just a Panama rat. Panorama effects. And, the theme. If what I heard near the end of record was the main theme, it was not clear at all.

00:09:14:28 - 00:09:30:24 Stan Kenton: This is the kind of music I think could be used in, advanced cases of music therapy, possibly to watch the expression on someone’s face to see if you have reached them at all. Yeah. I don’t see any validity as far as the music. is concerned at all.

00:09:30:26 - 00:09:32:18 Leonard Feather: Do you have any form of it?

00:09:32:20 - 00:09:50:04 Stan Kenton: No, no, I think that it’s, maybe, 20 years ago, I would have said that’s very interesting. I’d like to hear it again. But I have no desire to hear it again. nothing. Held it together. Yeah. Who was it?

00:09:50:06 - 00:09:53:00 Leonard Feather: How many stars who expressed how many stars?

00:09:53:01 - 00:09:54:15 Stan Kenton: One. One.

00:09:54:18 - 00:10:15:16 Speaker 5 Oh.

00:10:15:19 - 00:10:18:00 Unknown Put the money in the ashes.

00:10:18:00 - 00:10:31:17 Stan Kenton: The money? Yeah. How can I explain this record? the way I feel about.

00:10:31:19 - 00:10:55:16 Stan Kenton: This could have been a great record because it has all the ingredients that go to make a great record. It had the the color, it had the setting. But the thing it missed was subject matter. the theme was not at all strong. I thought the melody was very weak. And I thought maybe when the guitar player got into some improvization, maybe it would strengthen itself a little bit.

00:10:55:16 - 00:11:08:12 Stan Kenton: But it didn’t. It’s like, having a, lovely romantic atmosphere for a party. And yet the people are boring because there’s really no purpose for the party.

00:11:08:14 - 00:11:14:21 Leonard Feather: Yeah.

00:11:14:24 - 00:11:35:09 Stan Kenton: It’s pretty hard for the arranger, whoever he was, to do much with it because the tune didn’t. The melody didn’t have much content. It was too very flimsy. I don’t think this deserves more than two stars. Well, It seems like before, when I heard this, it wasn’t this long.

00:11:35:12 - 00:11:37:29 Leonard Feather: You have a.

00:11:38:02 - 00:11:44:19 Stan Kenton: Yeah.

00:11:44:21 - 00:11:52:00 Stan Kenton: well, let’s see what Glenn’s able.

00:11:52:02 - 00:12:21:09 Stan Kenton: I think that, I’d have to say this affects me in a very personal way. It’s as though the, master of us all said, stand up and take yourself too seriously. After all, you know, you do have a sense of humor, and, the world will turn whether you, push it or not. And, I think it kind of, in essence says, regardless of all your screaming and hollering, we still like you anyway.

00:12:23:20 - 00:12:25:29 Stan Kenton: I think it’s beautiful.

00:12:26:01 - 00:12:29:29 Unknown Yeah, I do it all right. Yeah.

00:12:30:02 - 00:12:37:14 Stan Kenton: And he is a master, too. I’d have to give it, four stars.

00:12:37:16 - 00:12:47:00 Leonard Feather: how about comments about the individuals? Because there are several other, conversations.

00:12:47:02 - 00:13:06:22 Stan Kenton: well, You can eliminate part of this if you want, later. But, we had a TV show in Kansas City plug and the festival back, you know? And so the guys got they had a guy that Richard Smith who’s president, one of the unions there had to talk about what’s great about Ellington’s band, and they talked about everybody.

00:13:06:22 - 00:13:25:22 Stan Kenton: But the guy that is Ellington, right. Next album did and that’s Harry Carney. you know, so I said, how come you guys talking about everybody you mentioned all these guys, you don’t mention the guy that is Ellington. He’s the capital of Ellington. If Ellington himself is Ellington, you know, and it’s Carney. And I think that, with him, Carney’s sound has never been duplicated.

00:13:25:22 - 00:13:35:26 Stan Kenton: He has identity. And to me he’s Duke, you know. Yeah. If I say not not he’s Duke, but, he’s if there’s a right arm. The Duke as he is. Duke.

00:13:35:28 - 00:13:39:06 Leonard Feather: Would you say this was Duke’s arrangement of Strayhorn?

00:13:39:09 - 00:13:41:07 Stan Kenton: I don’t know. I don’t,

00:13:41:09 - 00:13:41:27 Leonard Feather: It doesn’t sound.

00:13:41:29 - 00:13:47:03 Stan Kenton: Sounds to me like it’s an ear thing. Oh, no, I think you think it was written. I think it was in,

00:13:47:05 - 00:13:50:12 Leonard Feather: Yeah. Yeah. Of course, most of it is dance anyway.

00:13:50:20 - 00:13:57:14 Stan Kenton: Yeah, well, I mean, an ear thing landed. It’s something they sat down and figured out. They just didn’t say, okay, we’re starting to play here. Oh, there were ideas there.

00:13:57:14 - 00:14:03:19 Leonard Feather: But I suspect that, probably stay on to somebody for that, particularly the last meeting that I have, you know. But,

00:14:03:22 - 00:14:07:15 Stan Kenton: Thank you. That’s very pleasing.

00:14:07:17 - 00:14:07:29 Leonard Feather: Okay.

00:14:07:29 - 00:14:10:23 Speaker 5 Well, that’s.

00:14:10:25 - 00:14:11:17 Leonard Feather: One thing that’s about.

00:14:11:17 - 00:14:27:25 Stan Kenton: The melody. Oh, the record seemed like it was much longer to me. And I guess the thing that, that does hang you up is you have to remember that the theme itself is only ten bars long, and once you treat it one way and ten bars, you have to treat it another way and another way. And it seems like a much longer record.

00:14:27:25 - 00:14:46:25 Stan Kenton: However, it seems like I guess as you say, it was only about three minutes. Yeah. Oh. No. Do me a favor and start that record. You can’t leave it in. Yeah, just for about a minute.

00:14:51:21 - 00:15:11:13 Stan Kenton: The reason I asked to hear the first portion of that record again is I thought at first when I first heard it that, there was some cross rhythms going on and so forth that, would be very interesting. All I felt suddenly was a very nervous feeling about things, that I was hearing something strange. And when I ask you to play it again, I didn’t really think it was anything strange.

00:15:11:13 - 00:15:34:13 Stan Kenton: I heard. I just heard time hassles going on that were awfully disturbing. Sound like they needed to start and kick off again, but it did have an interesting sound. But I think it was disturbing. I, I like the trumpet very, very much. Yeah. And the thing I wasn’t too impressed with the piano, mainly because I think he’s tasty, but, I think the piano player suffers from the same fault of a lot of modern pianists.

00:15:34:13 - 00:16:00:11 Stan Kenton: They get into one idiom of the piano, and they keep it going. And, there’s so many possibilities at the piano. He could have brought in a lot of interesting color from the piano by broadening out a little bit more and getting away from just the stabbing left hand in the single finger, right hand, in spite of the fact you did play some thirds here and there, I, I felt that especially during the piano, the bass and the drummer were very listless and there was not much energy coming from them.

00:16:00:13 - 00:16:16:05 Stan Kenton: I didn’t feel that so much doing the trumpet because I blew the trumpet. had more assertion. Yeah. And then as far as the little composition idea on the end, I feel it. Sometimes these little modal effects can be carried too far after it’s said once or twice, and they should go ahead and spice it with something else.

00:16:16:05 - 00:16:22:20 Stan Kenton: Yeah, it gets to be a boring thing. You finally feel like you want to stop the record and say, what else is new?

00:16:22:22 - 00:16:25:10 Leonard Feather: Oh, that right.

00:16:25:12 - 00:16:28:03 Stan Kenton: Oh, three stars, I guess.

00:16:28:05 - 00:16:42:11 Unknown Oh,

00:16:42:14 - 00:16:43:03 Unknown well, Leonard, I don’t.

00:16:43:03 - 00:17:04:04 Stan Kenton: Have any idea whose band that is, but it’s a wonderful record. it’s truly happy music. I think the writing is excellent, and they got a groove going right at the beginning. It never changed. And if you can tell me the name of it, I’ll go out and buy it. and I’d give it five stars. Wow.

00:17:04:07 - 00:17:12:22 Stan Kenton: The first out of place. I like Marshall Roy a little bit, but then I couldn’t identify the rest of the band.

00:17:12:24 - 00:17:18:13 Stan Kenton: Good feeling with a trumpet player. Yeah.

00:17:18:16 - 00:17:20:22 Stan Kenton: Who was it?

00:17:20:24 - 00:17:21:23 Leonard Feather: So nobody else to come in.

00:17:21:25 - 00:17:22:24 Stan Kenton: Bar, and that’s all.

00:17:22:26 - 00:17:29:02 Speaker 5 Okay.

00:17:36:14 - 00:17:58:23 Stan Kenton: I don’t think too much can be said. For the record, I think that it’s nothing more than dance music, and it’s probably a good grade of dance music. But the title could very well be called a melodic and harmonic boredom. a music like this is only good for one thing. And and that’s for dancing, because there’s certainly nothing, not enough interest there to, serve as any other thing.

00:17:58:23 - 00:18:12:06 Stan Kenton: Other than maybe a soft background. So you could maybe have a little atmosphere, because I don’t think there’s any validity in it at all. I wouldn’t give it, let’s say I’ll give it to four stars as dance music is music. I’ll give it one star.

00:18:12:08 - 00:18:17:07 Speaker 5 Okay. Why am.

00:18:17:09 - 00:18:18:13 Leonard Feather: Just what you said about.

00:18:18:15 - 00:18:31:10 Stan Kenton: Well, I think one of the problems with the record is you get a man tune a going after a certain length of time, you feel like saying, okay, okay, okay, I’ve heard it. What else is new? Yeah.

00:18:31:12 - 00:18:59:00 Stan Kenton: So.

00:18:59:02 - 00:19:10:23 Speaker 4 Sometimes I say if I just could get away with my man. He goes straight choice fade boy.

00:19:10:26 - 00:19:17:13 Unknown Never is too late for a man.

00:19:17:16 - 00:19:20:25 Speaker 4 I’d just like to dream. My car is.

00:19:20:25 - 00:19:34:23 Unknown Fire free with my man. Where a few flowers grew. And perhaps the key not to like my name. And in my.

00:19:34:23 - 00:19:54:20 Speaker 4 Eyes get when I must forget. Till he gets hot and tells me not to talk. That’s right. Oh my man, I love him so he’ll never know. All my life is just is fair. But I don’t care. When he takes me.

00:19:54:20 - 00:20:08:12 Unknown In his all the way is right. All right. What’s the difference if I say I’ll go away. When I know.

00:20:08:12 - 00:20:10:05 Speaker 4 I’ll come back on my.

00:20:10:05 - 00:20:16:23 Unknown Knees, I’ll say, oh, whatever, my man. If,

00:20:16:26 - 00:21:27:25 Speaker 4 Oh, if I’m all.

00:22:55:09 - 00:23:33:04 Unknown Only say midnight. Leave starry sky. Nice work if you can get it. And you can get it. If you try strolling with the one. By saying by and sky. Nice work if you can get it. And you can get it if you try. Just imagine someone waiting at the cottage door where two hearts become one who could ever do anything for love and one who love you.

00:23:33:06 - 00:23:40:11 Unknown And then taking that vow. Nice. When you can get it. And if you get it.

00:23:40:13 - 00:23:55:22 Speaker 4 Won’t you tell me now?

00:23:55:25 - 00:25:19:01 Speaker 4 And.

00:25:19:03 - 00:25:20:20 Speaker 5 Who’d you.

00:25:20:22 - 00:25:33:00 Unknown Go?

00:25:33:02 - 00:25:38:16 Unknown Oh.

00:25:38:18 - 00:25:50:13 Unknown Who? Who who could.

00:25:50:16 - 00:26:11:18 Unknown Do.

00:26:11:20 - 00:26:19:15 Unknown Who.

00:26:19:18 - 00:26:31:29 Unknown Could do one. Who.

00:26:32:01 - 00:26:51:15 Unknown He’s got to swear, man. But got his love I’ve got to love one man. To love that can help. Love and let me love you. My.

00:26:51:17 - 00:27:11:21 Unknown Tell me lazy. Tell me slow. Love me I’m crazy. Maybe I don’t know who came here. And let me go.

00:27:11:23 - 00:27:33:10 Unknown When he goes away bad. So rainy day. And when he come back the day is fine. The sun, sunshine. He can come.

00:27:33:10 - 00:27:34:03 Speaker 4 Home.

00:27:34:03 - 00:28:17:26 Unknown And ladies can’t be home without him. Made no. Can’t have love and never made up my.

00:28:17:28 - 00:28:22:13 Unknown Way.

00:28:22:15 - 00:28:29:16 Unknown Hey hey hey. Oh!

00:28:29:18 - 00:28:35:29 Unknown Oh oh.

00:28:36:02 - 00:28:53:21 Speaker 4 My first impression of you was like this kind of flower this spring you woke me up face to see.

00:28:53:23 - 00:28:58:14 Speaker 5 My father’s face of you.

00:28:58:16 - 00:29:04:07 Speaker 4 Was something scrap new to us.

00:29:04:09 - 00:29:18:09 Unknown And then looking at you. Smiling at me. Oh, I don’t know if you hit them right out of here, but in all.

00:29:18:09 - 00:29:26:00 Speaker 4 Them surprise me. Mom, I thought you.

00:29:26:03 - 00:29:31:13 Unknown Just found me here. You might know.

00:29:31:15 - 00:29:40:21 Speaker 4 It may sound silly, but you. My heart. Just stop. When I caught your.

00:29:40:23 - 00:29:55:29 Speaker 5 Overwhelming was loving by stream. Fresh love, new.

00:30:02:29 - 00:30:35:23 Unknown And.

00:30:35:26 - 00:30:44:07 Unknown Hey.

00:30:44:09 - 00:31:01:04 Unknown Man.

00:31:01:06 - 00:31:30:11 Unknown I.

00:31:30:13 - 00:31:40:07 Unknown Heard.

00:31:40:09 - 00:31:56:01 Unknown Of one.

00:31:56:04 - 00:32:02:15 Unknown Better than 50.

00:32:02:17 - 00:32:23:27 Speaker 5 And never.

00:32:24:00 - 00:32:27:26 Speaker 5 Have.

00:32:27:29 - 00:32:34:01 Speaker 5 None.

00:32:34:03 - 00:32:34:15 Speaker 4 Yeah.

00:32:34:16 - 00:32:41:06 Unknown Me too. Me? Why must you be me to me.

00:32:41:08 - 00:32:46:06 Speaker 4 He, Needs seems. Give me. You love to.

00:32:46:06 - 00:32:58:05 Unknown See me crying. I don’t know why I stay home each night. When you say you. Oh.

00:32:58:07 - 00:33:02:18 Speaker 4 You don’t. And I’m left all alone.

00:33:02:20 - 00:33:20:06 Unknown In the blues. And crying. You treat me, oh me. He stay in me. You always got me.

00:33:20:08 - 00:33:23:26 Speaker 4 Whenever somebody.

00:33:23:26 - 00:33:33:09 Unknown Said it. Love me, wait for to be me to me. Yeah.

00:33:33:12 - 00:33:37:05 Speaker 4 You sure you. Hey you be.

00:33:37:08 - 00:33:38:28 Speaker 5 What you, me.

00:33:39:01 - 00:34:03:13 Unknown You, me.

00:34:12:16 - 00:34:43:22 Unknown Oh.

00:35:41:16 - 00:35:47:26 Unknown oh. Yes. I love you.

00:35:47:28 - 00:36:55:16 Unknown So separate. Don’t you? Not only, never to. Have. But he may come to me. That’s true, but what can I say? Oh, yes. Fine. Hey, as long as I have you.

00:36:55:19 - 00:37:00:25 Unknown You.

00:37:00:27 - 00:37:27:00 Unknown Have.

00:37:27:03 - 00:37:34:27 Unknown Love.

00:37:34:29 - 00:37:45:23 Unknown To love. So,

00:37:45:25 - 00:37:52:28 Speaker 5 Ha ha ha ha ha ha ha ha!

00:37:53:01 - 00:38:05:29 Speaker 5 Ha ha ha ha ha ha ha ha ha! Ha ha ha!

00:38:06:01 - 00:38:17:18 Speaker 4 Ha ha ha ha ha!

00:38:17:21 - 00:38:28:05 Speaker 5 I knew that.

00:38:28:07 - 00:38:34:00 Speaker 5 That.

00:38:38:24 - 00:39:24:29 Speaker 4 Your shower. Never mind the rain. The sunshine again. Through the shower. Mean a little. Love. The sound of my like laughter that follow your hair. Stop. Clouds of sorrow will soon be, sunny to morrow. Up from flower with a happy eyes. Up to the play. The skies inside. Now, We were very part of Reno it out on a great day.

00:39:25:01 - 00:39:26:26 Speaker 4 And we’ll be glad.

00:39:26:29 - 00:39:28:24 Speaker 5 You, my dear.

00:39:28:26 - 00:40:05:13 Speaker 4 Ones. And now, I hear.

00:40:23:23 - 00:40:49:03 Speaker 4 Oh.

00:40:49:06 - 00:41:01:18 Speaker 4 Sometimes I say a back. Just to get away with my men. he goes straight. Show fade, boys. Never.

00:41:01:18 - 00:41:07:18 Unknown He is too late for a man.

00:41:07:21 - 00:41:09:29 Speaker 4 I just like to dream.

00:41:09:29 - 00:41:20:10 Unknown Mama is miles free with my man. Where a few flowers grew. And I have the.

00:41:20:10 - 00:41:44:25 Speaker 4 Piano to write my name. And then my eyes get wet I must forget till he gets cotton and tells me not to talk. That’s wrong. Oh my man, I love him so. He’ll never know. All my life is just despair. But I don’t care. When he takes me.

00:41:44:25 - 00:41:52:17 Unknown In his arms. The world is right. All right.

00:41:52:19 - 00:42:06:29 Speaker 4 What’s the difference if I say I’ll go away when I know I’ll come back on my knees, I’ll say, oh, never mind. Maybe,

00:42:07:01 - 00:43:18:01 Speaker 5 Oh, if some small.

00:44:45:15 - 00:45:21:02 Unknown Opening in the night. Leave the starry sky. Nice work if you can get it. And you can get it if you try. Struggling with the one by dying by. And the fine. Nice work if you can get it. And you can get it if you try. Just imagine someone waiting at the cottage door with two hearts. Become one who could ask for anything more, loved.

00:45:21:02 - 00:45:25:24 Unknown One who love you and then take it that far.

00:45:25:27 - 00:47:18:24 Speaker 4 Nice. Where did you can get it? And if you get it, won’t you tell me the.

00:47:18:27 - 00:47:35:00 Unknown Name.

00:47:35:02 - 00:48:08:00 Unknown Oh.

00:48:08:02 - 00:48:22:04 Unknown My home. One.

00:48:22:07 - 00:48:23:14 Unknown Three. Stop!

00:48:23:15 - 00:48:25:16 Speaker 4 Please remember.

00:48:25:16 - 00:48:29:25 Unknown Stop. Light like. Got to love one.

00:48:29:25 - 00:48:31:13 Speaker 4 Make to love.

00:48:31:15 - 00:48:41:21 Unknown I can’t help love. And let me love you. My.

00:48:41:24 - 00:49:01:27 Unknown Tell me is lazy. Tell me slow. Help me I’m crazy. Maybe I don’t know. Hey, hey love and let me love my.

00:49:01:29 - 00:49:34:13 Unknown When he goes away bad. So rainy day. And when he come back. That day is my my sunshine. He can come home and left. Can’t be home without him. Made no, you can’t have.

00:49:34:13 - 00:49:35:20 Speaker 4 Love and let.

00:49:35:20 - 00:49:41:18 Unknown Me love my.

00:49:41:21 - 00:49:53:13 Unknown Mama.

00:49:53:16 - 00:50:10:11 Unknown My mama.

00:50:10:13 - 00:50:19:27 Unknown Hey hey hey hey hey.

00:50:19:29 - 00:50:26:03 Unknown Oh, hey.

00:50:26:05 - 00:50:37:29 Speaker 4 My first impression of you was like this. Like a flower. This spring you woke me up.

00:50:38:05 - 00:50:40:07 Speaker 5 Face to.

00:50:40:07 - 00:50:43:25 Unknown Face.

00:50:43:28 - 00:50:45:24 Unknown My first.

00:50:46:02 - 00:50:48:17 Speaker 5 Impression of you.

00:50:48:20 - 00:50:54:17 Speaker 4 Was something real bubbly. New hope, stuck.

00:50:54:20 - 00:51:00:08 Unknown There looking at you, smiling. Yeah. Me?

00:51:00:11 - 00:51:08:01 Speaker 4 Oh, if you had. Step right out of help. Hold it.

00:51:08:01 - 00:51:10:21 Speaker 5 Hold and surprise me.

00:51:10:21 - 00:51:14:27 Speaker 4 Mom, I thought you.

00:51:14:28 - 00:51:19:02 Unknown Are just found me here.

00:51:19:04 - 00:51:30:19 Speaker 4 I know it may sound silly, but you are my heart. Just stop when I caught your hand.

00:51:30:21 - 00:51:35:11 Unknown So overwhelming was nothing but stream fresh.

00:51:35:17 - 00:51:53:02 Speaker 5 Love you.

00:51:53:04 - 00:52:24:25 Speaker 5 And.

00:52:24:27 - 00:52:50:10 Unknown Hey. Hey.

00:52:50:13 - 00:52:57:29 Unknown My baby.