Isbell SOTW Week 9 - Flagship

[adiantumpedatum]

Flagship

There's a few too many years on this hotel
She used to be a beauty you can tell
The lights down in the lobby they don't shine
They just flicker while the elevator whines
And the couple in the corner of the bar
Have traveled light and clearly traveled far
She's got nothing left to learn about his heart
They're sitting there a thousand miles apart

Baby let's not ever get that way
I'll say whatever words I need to say
I'll throw rocks at your window from the street
And we'll call ourselves the flagship of the fleet

There's a lady shining shoes up by the door
and cowboy boots for seven dollars more
And I remember how you loved to see them shine
So I run upstairs and get a pair of mine
And there's a painting on the wall beside the bed
The watercolor sky at Hilton Head
Then I see you in that summer when we met
And that boy you left in tears in his Corvette

Baby let's not ever get that way
I'll drive you to the ocean every day
We'll stay up in the presidential suite
And call ourselves the flagship of the fleet

You gotta try and keep yourself naive
In spite of all the evidence believe
And volunteer to lose touch with the world
And focus on one solitary girl

Baby let's not live to see it fade
I'll cancel all the plans I've ever made
I'll drive and you can ride in the back seat
And we'll call ourselves the flagship of the fleet
=

This is the closest thing to a love song for love's sake Jason has ever written. Call that what you will. I'm sure a lot of us here summarily hate love songs, because we're all fans of a band (DBT) that's never written a single one (as best I can tell). I am not, in general, a loather of love songs, and I really like this one because it manages to break new ground in a genre where just about everything worth saying has been said a million times. Ooo baby, I love your way. Wild thing, you make my heart sing. Baby please don't go. Lay down Sally. Lay lady lay. Etc. I really, really like how honestly Jason acknowledges the precipice-- the risk of becoming passionless and complacent somewhere down the line.

That's a really powerful image to me, and I give Jason a lot of credit for putting it there. Most love songs have a contrast-- you know, the anti-love, the alternative to love that the singer is afraid of. Being alone, usually. As an anti, this image of an old, tired couple sitting at the bar works so well for me. I feel like I know them. I feel like that's how most of us lucky enough to be married for decades and decades end up: a little lonely but still getting by. Making do after all the intrigue is gone. It's that, more than anything else, that I'm afraid of in my own marriage, so when Jason says, "baby, let's not ever get that way," it rings like a bell.

And then he goes on, beautifully, to ask Amanda to be brave with him, to craft a marriage that's not just good, but exemplary. It's like, they're both on social media constantly, they're both in the public eye, and so it's going to take a lot of guts to be honest in that space. But he's asking more than that, he's telling her that they can use this public eye business to set a good example for the world. At least, that's how I hear it. Anyone who wants to can be a flagship, and I'd argue that setting a good example as a married unit is an act of civic responsibility. Jason seems to be saying the same thing here.

I know not all of y'all are fans of this song, and I get that. It's got some great images, and oh man, that last verse, but it's not particularly well-crafted as a whole.

I'll drive and you can ride in the backseat.
We'll stay up in the Presidential suite.
I'll cancel all the plans I've ever made.

Meh, meh, meh. "Let's not live to see it fade" is strong, but many of the other rhymes in the ever-changing chorus of the song come off as a little tedious and dry. I almost like these not-quite lines in spite of themselves, because they make the song feel like a pantoum, that style of form poem where each stanza repeats part of the stanza that came before.

So, my question to you all is, because this seems a bit of a polarizing song, who loves it and for what reasons, and who hates it and for what reasons? Your thoughts, please!

[phungi]

For me, the imagery is very clear in the song: a sense of idealism, fear about maintaining the newness of the relationship, all juxtaposed (don't think I ever used that in a sentence before) against an older couple with nothing left to say to one another.

I think the next-to-last verse says a lot about the song:

You gotta try and keep yourself naive
In spite of all the evidence believe
And volunteer to lose touch with the world
And focus on one solitary girl

The word "naive" is an interesting choice, and inclusion of the term "evidence" makes me wonder if this is some sort of statement about 2 musicians/celebrities trying to make a marriage work... even if you ignore this aspect, there is a sense of apprehension that one must give up a part of themself in order to make the relationship work. Not sure where this all fits in with the "recent sobriety" but perhaps it reflects a new-found fear that "the sober me" needs to change his ways and focus on the girl...

[Duke Silver]

This and Speed Trap Town are my 1a/1b for best song on SMTF. It's a lovely sentiment expressed clearly and concisely. Gets me "in the feels" as the kids say.

[Clams]

I like this song too. I like how it's a full blown love song but sung and played in an understated way. That said, I think it's wrong for the singer to assume that the quiet couple sitting together by the bar must be unhappy or out of love. Maybe they're perfectly content to just be sitting together. Old love may be different from new love but a whippersnapper who's never been there shouldn't knock it.

[phungi]

I ...I think it's wrong for the singer to assume that the quiet couple sitting together by the bar must be unhappy or out of love. Maybe they're perfectly content to just be sitting together. Old love may be different from new love but a whippersnapper who's never been there shouldn't knock it.

Perhaps, but how do you interpret this passage, especially the last line:

Have traveled light and clearly traveled far
She's got nothing left to learn about his heart
They're sitting there a thousand miles apart

They travelled light and far (no baggage, been together a long time, she knows he is committed, yet they remain a thousand miles apart...

contentment?

[Clams]

I ...I think it's wrong for the singer to assume that the quiet couple sitting together by the bar must be unhappy or out of love. Maybe they're perfectly content to just be sitting together. Old love may be different from new love but a whippersnapper who's never been there shouldn't knock it.

Perhaps, but how do you interpret this passage, especially the last line:

Have traveled light and clearly traveled far
She's got nothing left to learn about his heart
They're sitting there a thousand miles apart

They travelled light and far (no baggage, been together a long time, she knows he is committed, yet they remain a thousand miles apart...

contentment?

He's making an assumption (that they're a thousand miles apart) which may or may not be accurate. The same goes for the implication that having "nothing left to learn about his heart" is necessarily a bad thing.

I don't know, for some reason this passage just irks me.

[rlipps]

I guess I'm in the minority, but this is probably my least favorite song in his entire catalog.

[Bantam]

I like the really spare beauty of this song. The "ooh"s are really key. They're not quite as good as the ones at the beginning of "Streetlights," but they're still pretty damn good. They are quite satisfying to over-sing, by myself, in the car.

I think the focus is kind of interesting. Unlike a lot of love songs, it's not about building up the subject to an impossible standard--it's a promise of large & small acts of service, the basis of any kind of love, romantic or not.

I think it's also a song written in the newness of love; the narrator's trying to suss out how passion & dedication are connected. The part about driving to the ocean is seeking out the world together, but the song ends with a promise to at least partially withdraw from it.

I think the song is called "Flagship" not because they are particularly trying to be examples for others, but because they (or at least he) simply can't see any examples in front of them.

But that could be the narrator's limitation, not the world's (as Clams suggested). I think about that admission of the fallibility of perception at the end of "Relatively Easy" ("Watch that lucky man walk to work again...")

Between this & "Palmetto Rose," SMTF really makes me wanna visit South Carolina.

P.S. Does the elevator "wind" (as in spooling & unspooling its cable) or does it "whine" (by making a noise)?

[adiantumpedatum]

I like the really spare beauty of this song. The "ooh"s are really key. They're not quite as good as the ones at the beginning of "Streetlights," but they're still pretty damn good. They are quite satisfying to over-sing, by myself, in the car.

I think the focus is kind of interesting. Unlike a lot of love songs, it's not about building up the subject to an impossible standard--it's a promise of large & small acts of service, the basis of any kind of love, romantic or not.

I think it's also a song written in the newness of love; the narrator's trying to suss out how passion & dedication are connected. The part about driving to the ocean is seeking out the world together, but the song ends with a promise to at least partially withdraw from it.

I think the song is called "Flagship" not because they are particularly trying to be examples for others, but because they (or at least he) simply can't see any examples in front of them.

But that could be the narrator's limitation, not the world's (as Clams suggested). I think about that admission of the fallibility of perception at the end of "Relatively Easy" ("Watch that lucky man walk to work again...")

Between this & "Palmetto Rose," SMTF really makes me wanna visit South Carolina.

P.S. Does the elevator "wind" (as in spooling & unspooling its cable) or does it "whine" (by making a noise)?

Thanks for catching that, Bantam. I thought I'd adequately proofed the lyrics, but not so. Definitely whines.

I agree about the song being written in the newness of love. That last verse is all Jason reminding himself what he's giving up to be in this thing. Those of us who know the backstory can read the thinly veiled acknowledgement of the backstage shenanigans that are a thing of the past (surely when he says "world" he means, among other things, Jack Daniels whiskey and whatever women might be interested in him post-show), but there's a lesson there for anyone who's in a committed relationship. There are things you have to let go of.

Yes to South Carolina, and to over-singing ooooohs.

Great conversation so far, guys. Another thing that catches me about this song is the incredible ringing quality to Jason's voice, especially at the end of each line. Audio engineering wizardry for sure, but I love it. It matches the honesty of what he's saying.

[lotusamerica]

I like the sentiment of the song a lot. And I like that it's not a feeling of duty or responsibility to act this way in love, but it has that sense of opportunity and gratitude. Like "run" upstairs for his cowboy boots as if he's excited to have thought of it and the way it will make her feel.

I never understood what the "flagship" part was and it bothered me a little wondering if it was some kind of narcissism. I'll chew on the ideas here for a bit - at least they make some sense of it.

I don't mind that he sees his fictional old couple are just killing time around each other - they're just meant to be a foil for setting up reflecting on his own relationship. But nice alternative perspective Clams, maybe a song from their point of view about the young whippersnapper staring at them while they try to relax over coffee who then seemingly feels the need to frantically run around and do a bunch of things to impress his lady because he hasn't yet reached their level of comfort and peace in a relationship would be an interesting counter-take on it.

And not sure about this being the first love song in the catalog - Cover Me Up is pretty damn romantic. And DBT? I always thought "Love Like This" was one of the great love songs And don't "Santa Fe" and "Natural Light" fit the bill? Maybe some others?

[rockreid]

And not sure about this being the first love song in the catalog - Cover Me Up is pretty damn romantic. And DBT? I always thought "Love Like This" was one of the great love songs And don't "Santa Fe" and "Natural Light" fit the bill? Maybe some others?

Patterson has always said that "Women Without Whiskey" is a love song.

[Cole Younger]

I guess I'm in the minority, but this is probably my least favorite song in his entire catalog.

Dang. Worse than The Life You Chose, The Devil Is My Running Mate, Daisy Mae, and Save It For Sunday?

[Tequila Cowboy]

I guess I'm in the minority, but this is probably my least favorite song in his entire catalog.

Dang. Worse than The Life You Chose, The Devil Is My Running Mate, Daisy Mae, and Save It For Sunday?

Hey! I like Daisy Mae a lot. Not sure about Flagship. I've been meaning to give it a listen all week since this post and haven't had a chance. I haven't listened to SMTF in almost 2 months but we're seeing him with John Prine tomorrow so I might break it out before then.

[Tequila Cowboy]

Ok so I gave SMTF a listen this morning and played this one twice. The words are terrific, the story plays out much like so many of you have said. I can't add to that because you've all laid that out beautifully. The problem for me with Flagship is the same problem that, to me, plagues so much of this record; the melody is uninteresting and repetitive. It doesn't draw me in to hear the story so that beautiful wordplay goes completely unnoticed. I couldn't even remember the song in my head when the SotW was posted.

[Zip City]

I guess I'm in the minority, but this is probably my least favorite song in his entire catalog.

Dang. Worse than The Life You Chose, The Devil Is My Running Mate, Daisy Mae, and Save It For Sunday?

I will never get the hate for Devil or Daisy Mae

[Zip City]

The problem for me with Flagship is the same problem that, to me, plagues so much of this record; the melody is uninteresting and repetitive. It doesn't draw me in to hear the story so that beautiful wordplay goes completely unnoticed. .

Kinda how I feel about half of the new Brent Best album

[adiantumpedatum]

Ok so I gave SMTF a listen this morning and played this one twice. The words are terrific, the story plays out much like so many of you have said. I can't add to that because you've all laid that out beautifully. The problem for me with Flagship is the same problem that, to me, plagues so much of this record; the melody is uninteresting and repetitive. It doesn't draw me in to hear the story so that beautiful wordplay goes completely unnoticed. I couldn't even remember the song in my head when the SotW was posted.

I think I agree with you about generally uninteresting melodies on SMTF as a whole. That might actually be THE issue with the album-- y'know, what keeps it out of the top tier in spite of being full of solid lyrics and even, warm production. There is that tendency toward sing-songiness, and I think at the root that's because of the melodies.

But I digress. This is about Flagship. I've got a little catching up to do, looks like.

Lotus, I had said that Flagship was Jason's only "love song for love's sake" in his catalog. Cover me Up is most definitely a love song-- but deep down inside it's really about redemption. Good points about those DBT songs-- I've gotta remind myself that owning SRO, DD, and TDS, and loving everything else I've ever heard on Sirius and on Pandora does NOT make me a DBT expert. (The truth comes out...)

I like your point about how a love song from the perspective of the old couple might be a treat-- there's something sweet about that level of comfort, isn't there?

Tequila, have fun at the show. We expect a full report.

[lotusamerica]

The problem for me with Flagship is the same problem that, to me, plagues so much of this record; the melody is uninteresting and repetitive. It doesn't draw me in to hear the story so that beautiful wordplay goes completely unnoticed. .

Kinda how I feel about half of the new Brent Best album

I was thinking about the reverse of this problem as I listened to Phil cook last night.

[Smitty]

Mercy Buckets

[lotusamerica]

It's a repetitive melody with subtle inversions. I surely wouldn't say the album is plagued with lack of melodies, even if there are more subtleties than drama, but I agree with Adian that there is some sing-song nature to life you chose and how to forget.

[Tequila Cowboy]

It's a repetitive melody with subtle inversions. I surely wouldn't say the album is plagued with lack of melodies, even if there are more subtleties than drama, but I agree with Adian that there is some sing-song nature to life you chose and how to forget.

I really like these SotW threads and I don't want to hijack this one. I do have some thoughts on that after seeing Jason for the third time this year on Saturday night so I'll head over to the SMTF thread.