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Showing posts with label Townes Van Zandt. Show all posts
Showing posts with label Townes Van Zandt. Show all posts
Click on title to link to YouTube's film clip of Townes Van Zandt performing "Tecumseh Valley".
CD Review
In The Beginning, Townes Van Zandt, Compadre Records, 2003
This main points in this review have been used in reviews of other Townes Van Zandt material.
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals (think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, “In The Beginning”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core early works in one place. This material, as the extensive liner notes reveal, was material that Townes performed very early in his career and had mislaid to be released only in 2003 several years after his death. Pay particular attention to some of the lyrics that are harbingers of later work like “Tecumseh Valley” and “Don’t You Take It Too Bad”. For those who thought that Townes merely evolved into his dark lyrics this one will disabuse you of that notion. He was always dark. Stick outs here are: “Black Widow Blues”, Black Jack Mama”, “Colorado Bound”, and “Black Crow Blues”. Blues is the dues, okay.
Waiting Around To Die
townes van zandt
Sometimes I don't know where
This dirty road is taking me
Sometimes I can't even see the reason why
I guess I keep a-gamblin'
Lots of booze and lots of ramblin'
It's easier than just waitin' around to die
One time, friends, I had a ma
I even had a pa
He beat her with a belt once 'cause she cried
She told him to take care of me
Headed down to tennessee
It's easier than just waitin' around to die
I came of age and I found a girl
In a tuscaloosa bar
She cleaned me out and hit in on the sly
I tried to kill the pain, bought some wine
And hopped a train
Seemed easier than just waitin' around to die
A friend said he knew
Where some easy money was
We robbed a man, and brother did we fly
The posse caught up with me
And drug me back to muskogee
It's two long years I've been waitin' around to die
Now I'm out of prison
I got me a friend at last
He don't drink or steal or cheat or lie
His name's codine
He's the nicest thing I've seen
Together we're gonna wait around and die
Together we're gonna wait around and die
Happy Birthday Townes- It Ain’t The Singer It’s the Song-Townes Van
Zandt’s A Far Cry From Dead (1999)-A CD Review
CD Review
By Zack James
A Far Cry From Dead, Townes
Van Zandt, Arista Records, 1999
Recently in reviewing a
bluesy CD by outlaw cowboy singer Willie Nelson (at least that designation was
the basis for my introduction to him back in the early 1980s) I mentioned that
I was reminded by my old high school friend, Seth Garth, that back in those
late 1970s and early 1980s I was drawn to such outlaw cowboy music that had
broken sharply with the traditional stuff out of Nashville that I could not
abide., always associated with the Grand Ole Opry and stuff like that, redneck
music.
I also noted that just
then, just that late 1970s, early 1980s, rock and roll was taking one of its
various detours, a detour like in the late 1950s when the soul went out of rock
for a while before the storm of the British invasion and “acid” rock saved it
which I could not follow, folk music, the social protest kind anyway that had
attracted me in my youth was fading fast even among aficionados as more mundane
concerns filled that niche, and the blues was losing its star mostly black
performers by the day and the younger crowd, mostly black, was leaving the
field to white aficionados like Eric Clapton and Stevie Ray Vaughn and heading
to what would become hip-hop tradition so I was up for listening to something different.
Something that might catch my ear for roots-based music, the music of the “big
tent” American songbook beyond Tin Pan Alley.
What Seth hadn’t remembered
was the genesis of that outlaw cowboy moment. My finding of an old used record
by artist under review Townes Van Zandt at Cheapo’s Records in Cambridge (still
there) of all places to find such music. And of course once I get on to a sound
I like I tend to look for everything I can find by the artist (film-maker or
writer too). Done. But more than in that outlaw moment I actually saw Townes in
person at, well, several places over a couple of years, but all of them in the
heart of “outlaw country” music, ah, Harvard Square. So in those days I was not
alone in looking for a new sound since all the venues were sold
out.
What drew me Townes then,
and drew me to this CD recently although it had been put out in 1999 a few
years after his untimely death in 1996 was he command of lyrics that “spoke” to
me, spoke some kind of truth of things that were bothering me just then like
lost loves, not understanding why those loves were lost, and about just trying to
get through the day. Yeah, that gravelly voice on that first record kind of fit
my mood then, and it still sounds good although unlike that first live in Houston
album this one is much more a produced product of the studio. Still the searing
burning messages and lyrics are there for to help you get through those tough
days that creep up and pile up on you. Listen up.
Click On Title tO Link To YouTube's Film Clip Of Townes Van Zandt Doing His "Tecumseh Valley".
CD Review
A Townes Van Zandt Tribute
Legends, Townes Van Zandt and various artists, 2002
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, "Legends", gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. This CD came out after his death and, I believe, is the subject of some legal controversy with his estate. However, the two discs (plus nice bonus duets with assorted well-regarded fellow artists like Willie Nelson). Start with the above-mentioned "Pancho and Lefty", work through the longing felt in "If I Needed You", and the pathos of "For The Sake Of The Song" that could serve as a personal Townes anthem. Then on to the sadness of "No Place To Fall" and "Waiting Round To Die". Finally, round things out with the slight hopefulness of "Colorado Girl" and the epic tragedy of "Tecumseh Valley". Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing A Cover Of The Rolling Stones' "Dead Flowers".
CD Review
Townes Live And On The Road
Rain On A Conga Drum, Townes Van Zandt, Cool Tunes Records, 1991
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation with the aptly named title, “Rain On A Conga Drum”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. Additionally, it is a live concert performance done in Germany in the early 1990’s. Start with the above mentioned “Pancho and Lefty”, work through the longing felt in “If I Needed You”, and the pathos of “Dollar Bill Blues” that could serve as a secondary personal Townes anthem. Then on to the sadness of “No Place To Fall” and “Lungs”. Finally, round things out with the slight hopefulness of “To Live Is To Fly” and the epic tragedy of "Tecumseh Valley”. Additionally, Townes covers The Rolling Stones' classic, “Dead Flowers” and Lightnin’ Hopkins’ wryly ironic “Shorted-haired Woman Blues”. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
Click On Title To Link To YouTube Film Clip Of The Trailer To "Be Here To Love Me"
DVD Review
Be Here To Love Me, Townes Van Zandt and other musicians, directed by Margaret Brown, Palm Pictures, 2006
The main points of this review have been used to review Townes Van Zandt CDs in this space. They can serve here as well in this very well done documentary by Margaret Brown on the hard times and great lyrics of a very troubled man.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape.I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Click on the headline to link to a "YouTube" film clip of the movie trailer for "Crazy Hearts".
DVD Review
Crazy Hearts, starring Jeff Bridges, Fox Searchlight, 2009
This one is easy. See it. Why? Well, if for no other reason that Jeff Bridges finally won an Academy Award for his lead role as Bad Blake in it, a role that he has been waiting for about forty years to cash in on. Every since I first saw Bridges as Duane in the screen version of Larry MacMurtry’s great novel of the New West, “The Last Picture Show”, I have known that he had the righteous, good-hearted, hard-drinking, devil-take-the-hinter post, sexually energetic and troubled “old geezer” that he personifies in the Blake role in him. He has done other fine performances but there is something just a little extra that he brings to that good-ole-boy role, young or old.
And here is the kicker. As most of those in America who have being paying attention in the lead-up to the Oscars know this film is about an alcoholic, back roads traveling, down on his luck, hard living country singer, an “outlaw” singer for sure. But also a man in desperate need of either a good woman or a good twelve step program, or both. That premise drives the action and the music. The Blake character could be based on about twelve guys from the 1970s with that fistful of “outlaw cred” from Waylon Jennings to Townes Van Zandt (whose “If I Needed You” is part of the soundtrack here). And that is my final point. Back in those days I had what I call my “country moment”. I gravitated toward the “outlaw country” sound, especially that of Townes Van Zandt, from my permanent berth deep in the blues, city and country, and to a lesser extent, folk. The Jeff Bridges/Bad Blake character is just the cinematic expression of that moment for me. Kudos.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing "Dollar Bill Blues".
CD Review
Flyin’ Shoes, Townes Van Zandt, Tomato Records, 1972
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Here the ones to give a close listen to are the haunting "Loretta" about a common Van Zandt topic of "fallen women"; the prophetic and self-explanatory "No Place to Fall", the title track "Flyin' Shoes"; a righteous cover of the old Bo Didderly classic "Who Do You Love"; the mournful "When She Don't Need Me"; and, the ambiguous (about whether he misses the horse or the woman more that may give a newcomer a small inkling to the Van Zandt personality) "Buckskin Stallion Blues".
Click on the headline to link a YouTube film clip of Van Morrison performing his classic Into The Mystic.
CD Review
Magic Time , Van Morrison, Exile Records, 2005
The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Magic Time, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.
If you do not believe me then just listen to him ante up on his Keep Mediocrity At Bay , a classic folk bluesy number; the thoughtful Just Like Greta; the pathos of Lonely And Blue; the title song Magic Time; and, something out of time,Evening Train. The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing His Song "Waitng Around To Die"
CD Review
Early Townes
Townes Van Zandt, Townes Van Zandt, Tomato Records,
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, “Townes Van Zandt”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core early works in one place Start with “Don’t You Take It Too Bad”, work through the longing felt in “I’ll Be Here In The Morning”, and the pathos of “For The Sake Of The Song” that could serve as a personal Townes anthem. Then on to the sadness of “Columbine” and “Waiting’ Round To Die”. Finally, round things out with the slight hopefulness of “Colorado Girl” and the epic tragedy of “None But The Rain”. My special favorite here, as attested to by an old worn out LP album version of this CD is "(Quicksilver Daydreams of) Maria". For sheer poetic lyrical form I do not think Townes did one better, the thing jumps with many apt metaphors. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. A welcome addition are the copious liner notes that give some sense of his life, his work and his lyrics. Get to it.
Click on the headline to link to a YouTube film clip of Steve Earle covering Townes Van Zandt's Colorado Girl.
CD Review
Townes, Steve Earle, New West Records, 2009
I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of the man who Steve Earl is paying tribute to here, Townes Van Zandt. And while this outlaw country thing was short-lived and I scrabbled back to my first loves, blues, rock and folk music I always had time to listen to Townes. And today listen to Townes through the medium of Steve Earle.
As the liner notes indicate Steve Earle and Townes shared some common time together and Earle learned much of his trade at the side of Townes so it is rather appropriate that Steve has produced this tribute album to his fallen comrade. Townes led a nomad live, have some very peculiar ideas about life and about how it was to be lived but he knew how to write songs. Songs of sorrows, songs of grief, songs of lost loves and lost opportunities. And even a few “happy” ones, although those do not stand the test of time as well as the more moody ones. And in his own way Steve Earle has captured those emotions, and in his own style. That style on some songs seemingly very close in voice and sound to some of Bruce Springsteen’s later folk-oriented work.
The stick outs here are the hauntingly beautiful Colorado Girl; the lyrical No Place To Fall; the hard-edged Loretta; and my favorite Townes songs, the wistfully symbolic, magically word-mastered (Quicksilver Daydreams of) Maria.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Covering The Classic Blues Song, "Cocaine Blues".
CD Review
On The Road With Townes Van Zandt
Road Songs, Townes Van Zandt, Sugar Hill Records, 1992
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation with the aptly named title, “Road Songs”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core works on the road theme in one place. Start with, naturally, “Automobile Blues”, work through the longing felt in “Texas River Song”, and the pathos of “Indian Cowboy” that could serve as a secondary personal Townes anthem. Then on to the sadness of the ill-fated story of Ira Hayes. Finally, round things out with the slight hopefulness of the Lightnin’ Hopkins classic “Hello Central” and the epic tragedy of Bruce Springsteen's “Racing In The Streets”. Additionally, Townes covers The Rolling Stones classic, “Dead Flowers” and Lightnin’ Hopkin’s wryly ironic “Shorted-haired Woman Blues”. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.
CD Review
Back On Top, Van Morrison, Exile Productions, 1999
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Back on Top, and another “outlaw” country music man, the "Belfast Cowboy," Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy. But he ain't no one-trick pony, no way. This guy is a musical songbook of the late 20th century.
If you do not believe me then just listen to him ante up on Goin’ Down Geneva, a classic bluesy number; the thoughtful The Philosophers Stone; the pathos of High Summer; the title song Back On Top; and, something out of time, something out of a place that few musicians, hell, few people, go Golden Autumn Day. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves.
Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, How Long Has This Been Going On.
CD Review
How Long Has This Been Going On, Van Morrison, with Georgie Fame and the Flames, Exile Productions, 1995
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way.
If you do not believe me then just listen to him ante up on Early In The Morning , a classic bluesy number; the thoughtful Gershwin tuneHow Long Has This Been Going On ; the pathos of That’s Life;and, Blues In The Night; and, something out of lost time,Early In The Morning. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And kudos to Brother Fame, who rode that same train, as well.
Click on the headline to link to a YouTube film clip of Van Morrison performing Behind The Ritual.
CD Review
Keep It Simple, Van Morrison, Exile Records, 2008
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Keep It Simple, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony.No way, no how. Too many hard life lessons "learned."
If you do not believe me then just listen to him ante up on School of Hard Knocks, a classic bluesy number; the thoughtful Song Of Home; the pathos of No Thing; the title song reflecting back from back in youthful rock times, Keep It Simple; and, something out of time, Behind The Ritual. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Van Morrison, barrelhouse blues, folk rock, outlaw country music, Townes Van Zandt, be-bop night, rock and roll,
Click on the headline to link to a YouTube film clip of Van Morrison performing Tupelo Honey. A greatest hit, indeed.
CD Review
The Best Of Van Morrison: Volume Three, two CD set, Van Morrison, various artist, Exile Productions, 2007
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how.
If you do not believe me then just listen to him ante up on Gloria , a classic bluesy number with legendary bluesman John Lee Hooker; the thoughtful Centerpiece Stone with Georgie Fame and the Flames;the pathos of That’s Life;The Healing Game; and, something out of time, out of youthful rock timeTupelo Honey with bluesman Bobby Bland. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And as loners, not with legendary company. But fine, fine indeed.
Click on the headline to link to a YouTube film clip of Van Morrison performing In The Back Room.
CD Review
Brown Eyed Handsome Man , Van Morrison, Bono Records, 2000
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how not with that deep musical background.
If you do not believe me then just listen to him ante up on He Ain’t Give You None, a classic bluesy number; the thoughtful Beside You; the pathos of Send Your Mind; the title song from back in youthful rock timesBrown Eyed Handsome Man; and, something out of time,The Back Room. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Click on the headline to link to a YouTube film clip of Van Morrison performing The Beauty Of Days Gone By.
CD Review
Down The Road, Van Morrison, Exile Records, 2002
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Down The Road, and another “outlaw” country music man, the Belfast Cowboy, Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony. No way, no how, just too many lessons "learned."
If you do not believe me then just listen to him ante up on Steal My Heart Away, a classic bluesy number; the thoughtful The Beauty Of Days Gone By; the pathos of Chopping Wood; the title song reflecting back on youthful rock timesDown The Road; and, something out of time,Fast Train. The Belfast cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Happy Birthday Townes- It Ain’t The Singer It’s the Song-Townes Van Zandt’s A Far Cry From Dead (1999)-A CD Review
CD Review
By Zack James
A Far Cry From Dead, Townes Van Zandt, Arista Records, 1999
Recently in reviewing a bluesy CD by outlaw cowboy singer Willie Nelson (at least that “outlaw” designation was the basis for my introduction to him back in the early 1980s) I mentioned that I was reminded by my old high school friend, Seth Garth, that back in those late 1970s and early 1980s I was drawn to such outlaw cowboy music that had broken sharply with the traditional stuff out of Nashville that I could not abide, always associated with the Grand Ole Opry and stuff like that, redneck music.
I also noted that just then, just that late 1970s, early 1980s, rock and roll was taking one of its various detours, a detour like in the late 1950s when the soul went out of rock for a while before the storm of the British invasion and “acid” rock saved it which I could not follow, folk music, the social protest kind anyway that had attracted me in my youth was fading fast even among aficionados as more mundane concerns filled that niche, and the blues was losing its star mostly black performers by the day and the younger crowd, mostly black, was leaving the field to white aficionados like Eric Clapton and Stevie Ray Vaughn and heading to what would become hip-hop tradition so I was up for listening to something different. Something that might catch my ear for roots-based music, the music of the “big tent” American songbook beyond Tin Pan Alley.
What Seth hadn’t remembered was the genesis of that outlaw cowboy moment. My finding of an old used record by the artist under review Townes Van Zandt at Cheapo’s Records in Cambridge (still there) of all places to find such music. And of course once I get on to a sound I like I tend to look for everything I can find by the artist (film-maker or writer too). Done. But more than in that outlaw moment I actually saw Townes in person at, well, several places over a couple of years, but all of them in the heart of “outlaw country” music, ah, Harvard Square. So in those days I was not alone in looking for a new sound since all the venues were sold out.
What drew me Townes then, and drew me to this CD recently although it had been put out in 1999 a few years after his untimely death in 1996 was he command of lyrics that “spoke” to me, spoke some kind of truth of things that were bothering me just then like lost loves, not understanding why those loves were lost, and about just trying to get through the day. Yeah, that gravelly voice on that first record kind of fit my mood then, and it still sounds good although unlike that first Live in Houston album this one is much more a produced product of the studio. Still the searing burning messages and lyrics are there for to help you get through those tough days that creep up and pile up on you. Listen up.
Happy Birthday Townes -In The Time Of My Country Music Moment- The Work Of Singer/Songwriter Townes Van Zant- A Potpourri
CD Review
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals(think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
A Townes Potpourri
Rear View Mirror, Townes Van Zandt, Sugar Hill Records, 1993
Townes Van Zandt was, dues to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of “outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes’ pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson’s cover of “Pancho and Lefty”. However, Townes, who I had seen a number of times in person in the late 1970’s, was no mean performer of his own darkly compelling songs.
This compilation, “Rear View Mirror”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. Start with the above mentioned “Pancho and Lefty”, work through the longing felt in “If I Needed You”, and the pathos of “For The Sake Of The Song” that could serve as a personal Townes anthem. Then on to the sadness of “No Place To Fall” and “Waiting Round To Die”. Finally, round things out with the slight hopefulness of “Colorado Girl” and the epic tragedy of Tecumseh Valley”. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
"For The Sake of The Song"
Why does she sing
Her sad songs for me,
Im not the one
To tenderly bring
Her soft sympathy
Ive just begun
To see my way
clear
And its plain,
If I stop I will fall
I can lay down a tear
For her pain,
Just a tear and thats all.
What does she want me to do?
She says that she knows
That moments are rare
I suppose that its true
Then on she goes
To say I dont care,
And she knows
That I do
Maybe she just has to sing, for the sake of the song
And who do I think that I am to decide that shes wrong.
Shed like to think that Im cruel,
But she knows thats a lie
For I would be
No more than a tool
If I allowed her to cry
All over me.
Oh my sorrow is real
Even though
I cant change my plan
If she could see how I feel
Then I know
That shed understand
Oh does she actually think Im to blame?
Does she really believe
That some word of mine
Can relieve
All her pain?
Cant she see that she grieves
Just because shes been blindly deceived
By her shame?
Nothins what it seems,
Maybe shell start someday
To realize
If she abandons her dreams,
Then all the words she can say
Are only lies
When will she see
That to gain
Is only to lose?
All that she offers me
Are her chains,
I got to refuse
Oh but its only to herself that shes lied
She likes to pretend
Its something that she must defend,
With her pride
And I dont intend
To stand her and be the friend
From whom she must hide
COLORADO GIRL
Townes Van Zandt
Copyright � 1969 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
-----------------------------------------------------
Version 1 submitted by unknown
-----------------------------------------------------
D G D
I'm goin' out to Denver, see if I can't find
G D
I'm goin' out to Denver, see if I can't find
A7 G D
That lovin' Colorado girl of mine
Well the promise in her smile shames the mountains tall
Well the promise in her smile shames the mountains tall
She can bring the sun to shinin', tell the rain to fall
Been a long time Mama, since I heard you call my name
Been a long time, long time, since I heard you call my name
Got to see my Colorado girl again
I'll be there tomorrow, Mama, now don't you cry
(I'll) be there tomorrow, Mama, don't you cry
Gonna tell these lonesome Texas blues goodbye
DOLLAR BILL BLUES
Townes Van Zandt
Copyright � 1977 Silver Dollar Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
-------------------------------------------------------
Submitted by F. Schwarz 10/15/2006
-------------------------------------------------------
#--------------------------------------------------------------#
>>>Here is how Townes plays it on Flyin' Shoes<<<
Cm Fm
if I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning
Cm Fm
Little darling, she's a redhaired thing
Cm
Man, she makes my legs to sing
Gm
Gonna buy her a diamond ring
Cm
Early in the morning
Cm Fm
Mother was a golden girl
Cm
I slit her throat just to get her pearls
Gm
Cast myself into a whirl
Cm
Before a bunch of swine
Cm Fm
It's a long way down the Harlan road
Cm
Busted back and a heavy load
Gm
Won't get through to save my soul
Cm
Early in the morning
Cm Fm
I've always been a gambling man
Cm
I've roled them bones with either hand
Gm
Seven is the promised land
Cm
Early in the morning
Cm Fm
Whiskey'd be my dying bed
Cm
Tell me where to lay my head
Gm
Not with me is all she said
Cm
Early in the morning
Cm Fm
If I had a dollar bill
Cm
Yes, I believe I surely will
Gm
Go to town and drink my fill
Cm
Early in the morning
>>>On A Far Cry From Dead and on Rain On A Conga Drum he plays<<<
Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning
Hm Em
Little darling, she's a redhaired thing
Hm
Man, she makes my legs to sing
F#m
Gonna buy her a diamond ring
Hm
Early in the morning
Hm Em
Mother was a golden girl
Hm
I slit her throat just to get her pearls
F#m
Cast myself into a whirl
Hm
Before a bunch of swine
Hm Em
It's a long way down the Harlan road
Hm
Busted back and a heavy load
F#m
Won't get through to save my soul
Hm
Early in the morning
Hm Em
I've always been a gambling man
Hm
I've roled them bones with either hand
F#m
Seven is the promised land
Hm
Early in the morning
Hm Em
Whiskey'd be my dying bed
Hm
Tell me where to lay my head
F#m
Not with me is all she said
Hm
Early in the morning
Hm Em
If I had a dollar bill
Hm
Yes, I believe I surely will
F#m
Go to town and drink my fill
Hm
Early in the morning
#--------------------------------------------------------------#
IF I NEEDED YOU
Townes Van Zandt
Copyright � 1972 Columbine and UA Music
Performing rights w/ASCAP
http://www.ascap.com/ace/ACE.html
#-------------------------PLEASE NOTE--------------------------#
#This file is an interpretation of Townes' work, and does not #
#necessarily represent the actual way he recorded or performed #
#the song, and is not intended to be used for any purpose other#
#than for private study, scholarship, or research #
#--------------------------------------------------------------#
----------------------------------------------------------
Submitted by David Byboth via about-townes@physitron.com
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On Jun 2, 1:14pm, Rolland Heiss wrote:
> I would be interested in tab to "If I Needed You". I figured out a way
> to pick it that sounds ok but not quite right I'm afraid. I noticed that
> Townes often used that southern method of picking like on "Waiting Around
> to Die" where the thumb plays out a steady beat while the rest of the
> fingers do something different. I haven't mastered this yet but figured
> out a pretty fair way to play "Waiting Around to Die" that sounds good.
> I've only been trying to pick seriously for about a year. Before that I
> strummed chords mostly. I began playing guitar in the early 1980's and
> love it. I can barely get through a day without picking up the guitar at
> least once. Every evening I try to write a song; sometimes they come and
> sometimes not.
Man.... I should be careful what I volunteer to do!... I got hammered with requests for this.....when are all you pickers going to come to Dallas and play some Townes songs with me?
The pick is very much as Rolland describes.... it's a little hard to keep the thumb cranking out the bass rhythem while the fingers are doing their work but with some practice it all comes together....
To get you started (It may take me a while to get a real tab done with all the fill in stuff) you have to play it in G. I play it with the Capo on the fourth fret. While fingering a regular G Chord (you have to finger it with your little finger on the high string to free up your pointer!) the fingers pick:
NOTE: I just tabbed this at work from memory with no guitar...it has just the basic bass and lead line. I'll check it tonight but it should be close enough to get everyone started, feel free to feed me back corrections. (backchannel)
Learn it without the hammers first then you can work in the timing to hammer on the notes with a "h" on them.
and ease my pain?
If you needed me I would come to you I'd swim the seas for to ease your pain
In the night forlorn the morning's born and the morning shines with the lights of love You will miss sunrise if you close your eyes that would break my heart in two
The lady's with me now since I showed her how to lay her lily hand in mine Loop and Lil agree she's a sight to see and a treasure for the poor to find
#--------------------------------------------------------------# NO PLACE TO FALL Townes Van Zandt Copyright � 1973 EMI U CATALOG INC Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Submitted by David Byboth ----------------------------------------------------- Capo on Second fret
D DMaj7 D7 If I had no place to fall G D and I needed to Em G could I count on you D to lay me down?
D Dmaj7 D7 I'd never tell you no lies G D I don't believe it's wise Em G you got pretty eyes D won't you spin me 'round
Em A I ain't much of a lover it's true Em F#m I'm here then I'm gone D E and I'm forever blue A but I'm sure wanting you
Skies full of silver and gold try to hide the sun but it can't be done least not for long
And if we help each other grow while the light of day smiles down our way then we can't go wrong
Time, she's a fast old train she's here then she's gone and she won't come again won't you take my hand
If I had no place to fall and I needed to could I count on you to lay me down?
(QUICKSILVER DAYDREAMS OF) MARIA Townes Van Zandt Copyright � 1968 Silver Dollar Music Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Version 1 submitted by Neal -----------------------------------------------------
C Am Em Am Dm Well a diamond fades quickly when matched to the face of Maria F Dm F Dm C All the harps they sound empty when she lifts her lips to the sky C Am Em Am Dm The brown of her skin makes her hair seem a soft golden rainfall F Dm F G C That spills from the mountains to the bottomless depths of her eyes
Well, she stands all around me her hands slowly sifting the sunshine All the laughter that lingered down deep 'neath her smilin' is free Well, it spins and it twirls like a hummingbird lost in the mornin' And caresses the south wind and silently sails to the sea
Ah, the sculptor stands stricken and the artist he throws away his brushes When her image comes dancin' the sun she turns sullen with shame And the birds they go silent the wind stops his sad mournful singin' When the trees of the forest start gently to whisperin' her name
So as softly she wanders I'll desperately follow her footsteps And I'll chase after shadows that offer a trace of her sigh Ah, they promise eternally that she lies hidden within them But I find they've deceived me and sadly I bid them goodbye
So the serpent slides slowly away with his moments of laughter And the old washer woman has finished her cleanin' and gone But the bamboo hangs heavy in the bondage of quicksilver daydreams And a lonely child longingly looks for a place to belong
PANCHO AND LEFTY Townes Van Zandt Copyright � 1973 EMI U CATALOG INC, Performing rights w/ASCAP http://www.ascap.com/ace/ACE.html #-------------------------PLEASE NOTE--------------------------# #This file is an interpretation of Townes' work, and does not # #necessarily represent the actual way he recorded or performed # #the song, and is not intended to be used for any purpose other# #than for private study, scholarship, or research # #--------------------------------------------------------------#
----------------------------------------------------- Submitted by Neal -----------------------------------------------------
C G7 Livin' on the road my friend is gonna keep you free and clean F C G7 Now you wear your skin like iron, your breath's hard as kerosene F C F You weren't your momma's only boy, but her favorite one it seems C Dm F Am Began to cry when you said, "good-bye", sank into your dreams.
Poncho was a bandit boys, his horse was fast as polished steel He wore his gun outside his pants for all the honest world to feel Poncho met his match, ya know, on the desert down in Mexico No one heard his dyin' words, but that's the way it goes.
F C F All the Federales say, they could'a had him any day C Dm F Am They only let him go so long, out of kindness I suppose.
Lefty he can't sing the blues, anymore like he used to The dust that Poncho bit down south, ended up in Lefty's mouth The day they laid poor Poncho low, Lefty split for O-hio Where he got the bread to go, ain't nobody knows.
Cho: (slip away)
The poets tell how Poncho fell, Lefty's livin' in a cheap hotel The desert's quiet, Cleveland's cold and so the story ends, we're told Poncho needs your prayers it's true, but save a few for Lefty too He only did what he had to do but now he's growin' old.
Cho: (slip away) Cho: (go so wrong)
----------------------------------------------------- Submitted by Denny -----------------------------------------------------
Here's one of my favorite ballads which was written by the inimitable Townes Van Zandt. Emmylou Harris recorded it, as did Willie Nelson and Merle Haggard in a duet (don't ask me why). I first heard it in a coffeehouse at RPI (remember coffeehouses, where people went to hear good music, not get drunk) by Robin and Linda Williams, of later Prairie Home Companion fame.
I play this with a D, C#, B bass run transition from the D chord to whatever follows. I've indicated this with the following chord notation.
D x00232 D/C# x40232 D4/B(?) x20032
I also lead into the verse with e+-----------2-- b+--2--3--5----- g+-------------- then picking out of the D chord, etc. d+-----------0-- a+--0--2--4----- e+-------------- Livin' on the road, my friend.....
which is nice for many songs played in D.
Enjoy, Denny Straussfogel
Pancho and Lefty by Townes Van Zandt
D Livin' on the road, my friend A Was gonna keep us free and clean G But now you wear your skin like iron D D/C# D4/B A And you breath's as hard as kerosene G You weren't your mama's only boy D D/C# D4/B But her favorite one, it seems D She began to cry D/C# D4/B A A7 When you said good bye G Bm And sank into you dreams
(same chords as first verse) Pancho was a bandit, boys Rode a horse fast as polished steel Wore his guns outside his pants For all the honest world to feel Pancho met his match, ya know On the deserts down in Mexico No one heard his dyin' words But that's the way it goes
Chorus (words change slightly, each time) G And all the federales say D D/C# D4/B They could of had him any day D D/C# D4/B A A7 They only let him slip away G Bm Out of kindness, I suppose
Now Lefty he can't sing the blues All night long like he used to The dust that Pancho bit down South It ended up in Lefty's mouth The day they laid old Pancho low Lefty split for Ohio Where he got the bread to go Well there ain't nobody 'knows
But all the federales say They could of had him any day They only let him slip away Out of kindness, I suppose
Now poets sing how Pancho fell Lefty's livin' in a cheap hotel The desert's quiet and Cleveland's cold And so the story ends, we're told Pancho needs your prayers, it's true But save a few for Lefty, too He only did what he had to do And now he's growin' old
And all the federales say They could of had him any day They only let him go so long Out of kindness, I suppose
Yes a few old gray federales still say They could of had him any day They only let him go so wrong Out of kindness, I suppose
Happy Birthday Townes Van Zandt- In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “Van Morrison At The Movies”
A YouTube film clip of Van Morrison performing his classic Into The Mystic.
CD Review
Van Morrison At The Movies , Van Morrison, Exile Records, 2007
The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Van Morrison At The Movies , and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.
If you do not believe me then just listen to him ante up on his Gloria (although I admit that I did not know that he wrote that one back in the day), a classic rock bluesy number; the thoughtful Brown-Eyed Girl; the pathos of Days Like This ; the John Lee Hooker song Baby Please Don’t Go; and, something out of time,Into The Mystic. The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.
