This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager
Showing posts with label Jerry Jeff Walker. Show all posts
Showing posts with label Jerry Jeff Walker. Show all posts
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 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 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.
On The Wild Side Of Life Minute-With Mister Jerry Jeff Walker’s Music In Mind
CD Review
By Zack James
Great Gonzos, Mister Jerry Jeff Walker,
The 1980s, the early 1980s, were a tough time to try and weather the financial doldrums of the alternative newspaper industry (much like today, in 2016, the whole print press and journal industry is going down with the ship in the digital age). That was the age of Ronald Reagan, a time when the nighty-takers took their revenge in big gobs, those who almost got kicked in the ass for good back in the 1960s except we forget the first rule of a power struggle whether down on the corner boy block or in order to take state power-if you are going to take on the big guys you had better be ready to go all the way down and dirty or just back off.
As if to put paid to that “victory” those who would in earlier times come through and supported such ventures as truth-teller alternative media took a dive, waved the white flag and fell into line (a straight and narrow line that even the latest polls have shown they never have backed away, have passed on that keeping their heads down to their kids, hell, their grandkids, Jesus) the money dried up and the publication that Seth Garth had been the film critic for in good times and bad for over a decade The Eye had put him on short rations, had almost reduced him to the free-lancer status he had started out in the business doing. To alleviate their dilemma, maybe to draw one last breathe would have been a better way to put it Benny Gold the long time editor had begged Seth to take a long swig at the then emerging outlaw country music scene that was starting to bust out of Nashville, started getting up a head of steam in Texas, Austin, really and places like Colorado, Iowa and the like.
Seth Garth, for those who didn’t remember the name from when what he had to say about some song, album (tapes in those days really), or a performer carried weight via the distribution of The Eye on the coasts and with some strongholds in the center of the country too or were too young to know who he was could give, to use and expression from his corner boy days which he had never given up, a rat’s ass about country music, the Nashville Grand Ole Opry stuff. Held his nose whenever anybody mentioned that George Jones had not shown up at a concert for the millionth time or that Loretta Lynn had the vapor and was a “no show” at one of her performances. Yeah could give a rat’s ass no question. Moreover having just started the process of divorcing his third wife (three wives and a brood of kids, all young) he was in a sullen funk about starting all over like some rookie chasing ambulances and cop cars for a fucking story. Was trying, seriously trying, to decide whether he might link up with his old corner boy Johnny Blade who was now out of stir after doing a nickel for his last armed robbery and start pulling a few quick haul bank robberies. That larcenous heart of his that he had held in check for a number of years now was being to come to the fore. He after all was the guy back in the day who had perfected the “clip,” had designed the neighborhood midnight creep in Mayfair swell houses that kept the boys in clover through high school.
In the end though, at least for the public prints, Seth decided that he would give the outlaw country scene a quick run through to see if circulation would rise and The Eye would stop bleeding away financially. So he held his nose and headed to Austin (he refused to go to Nashville where some of the guys he was supposed to check out still had connections enough to draw work if the “outlaw” thing was running a little to the lean side. He first ran into a guy named Townes Van Zandt who was a true outlaw, could have given a fuck about Nashville just wanted to write his lyrics, drown his sorrows in liquor and chase young honeys, the younger the better. But Townes with his downer lyrics, his lusts and his short-handed way of taking when he was not singing was not going to help himself out of his miseries never mind a left-leaning newspaper in need of a big circulation jump.
So he pushed on, had a nice interview with Willie Nelson but the guy was almost too big by then, hell, he was playing Northern venues to sell-out crowds, radio stations were ready to switch formats if they could get a hook from him. Same with Kris Kristofferson who was getting acting jobs as well as drinking the state of California dry. Then Big Bill Bloom who had made a career out of big bang folk lyrics that everybody in the 1960s was chewing on (or chewing on partially because while everybody knew maybe three verses of his stuff they could not go the distance on the whole song, half the time Seth couldn’t) called Seth to tell him that he had heard that The Eye was on the ropes (The Eye always gave Big Bill great build-up reviews although a couple of times Seth had nixed his work but Benny had nixed his nix) and that he was working the outlaw country racket. Did Seth know about a guy, Jerry Jeff Walker, who just then was out of jail but who was a great performer, wrote great lyrics and had a pal, a guy named Guy Clark, who wrote stuff for him?
Seth told Big Bill that he had never heard of the guy, was moreover worried about that “just out of jail” bit even if he was an outlaw but when Big Bill said he could make the connections Seth in desperation said he would go for it. And strangely enough they connected, connected when Seth was able to see that Jerry Jeff was just another larcenous corner boy except down Texas way and out West they called them good old boys. Seth was the guy who gave Jerry Jeff’s first concert out of jail a big play. Got him a connection to a big record producer and even got him his first gig north of the Mason-Dixon line. Got him into Harvard Square for crying out loud. The crowd almost all old folkies and raw college kids with dates went crazy for a real outlaw country singer. For a while, maybe a year, The Eye got by but the Reagan era was in deep throttle and once Jerry Jeff became old news everybody went back to keeping their heads down. And Seth became once again a freaking free-lancer with no place to go but down.
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 #
#--------------------------------------------------------------#
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Version 1 submitted by unknown
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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 #
#--------------------------------------------------------------#
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Submitted by F. Schwarz 10/15/2006
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#--------------------------------------------------------------#
>>>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 #
#--------------------------------------------------------------#
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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
Click On Title To Link To YouTube's Film Clip Of David Bromberg's Cover Of Blind Willie McTell's Classic "Statesboro Blues".
He Ain’t No Wallflower
David Bromberg, The Player: A Retrospective, David Bromberg, Sony Music, 1998
The last time that I had mentioned the name of the artist under review, the well-regarded highly-skilled guitarist David Bromberg, was in a review of Rosalie Sorrels "The Last Go Round" album. That work was a recording of her last concert at Harvard in 2002. Originally the late Dave Van Ronk was to be on the program but he passed away a few weeks before the concert. David Bromberg was brought in as a replacement on short notice and wowed the house. I am sorry that I do not remember his play list and his work was not produced on the Sorrels CD. Not to worry though you can be sure that it included some of the tracks on this CD that represent some of his best work over a long career going back to the 1960's.
Virtually everyone I know has commented on Bromberg's extraordinary command of the guitar, his knowledge of what is called the American songbook and his, let's face it, at times thin and reedy voice. Forget that last part of the comment though because what you get in return are very innovative Bromberg presentations of well-known material. Obviously, Bromberg, having played with legendary cowboy Jerry Jeff Walker, needs to give us his version of "Mr. Bojangles". But how about a talking "Statesboro Blues", the Blind Willie McTell classic that most cover artists try to go up tempo on. The he goes 1950's on us with "Mr. Blue". And then gets down and dirty honky-tonk with "Wallflower". See what I mean, the guy knows his stuff. Get this thing and find out for yourself.
Song Lyrics: Statesboro Blues Written by Blind Willie McTell Recorded in (1928) -------------------------------------------------------------------------------- Wake up mama, turn your lamp down low Wake up mama, turn your lamp down low Have you got the nerve to drive papa McTell from your door
My mother died and left me reckless, my daddy died and left me wild, wild, wild Mother died and left me reckless, daddy died and left me wild, wild, wild No, I'm not good lookin', I'm some sweet woman's angel child
You're a mighty mean woman, to do me this a-way You're a mighty mean woman, to do me this a-way Going to leave this town, pretty mama, going away to stay
I once loved a woman, better than I ever seen I once loved a woman, better than I ever seen Treat me like I was a king and she was a doggone queen
Sister, tell your Brother, Brother tell your Auntie, Auntie, tell your Uncle, Uncle tell my Cousin, Cousin tell my friend Goin' up the country, Mama, don't you want to go? May take me a fair brown, may take me one or two more
Big Eighty left Savannah, Lord, and did not stop You ought to saw that colored fireman when he got that boiler hot Reach over in the corner, hand me my travelin' shoes You know by that, I got them Statesboro blues
Sister got 'em, daddy got 'em Brother got 'em, mama got 'em Woke up this morning, we had them Statesboro blues I looked over in the corner, Grandpa and grandma had 'em too.
Click on the headline to link to a "Boston Sunday Globe" article, dated April 25, 2010, concerning a Jeff Bridges retrospective at a local theater.
Markin comment:
Long before Jeff Bridges won his well-deserved Oscar for his Bad Blake role in last year’s “Crazy Hearts” I noted, in a response to someone’s comment in another blog, that in a sense he had been playing those kind of award-worthy roles all his now forty year acting career and that he should have been honored long time ago. I also noted the similarities between the way he played his role as Duane in “The Last Picture Show” and Bad Blake in “Crazy Hearts”. Now for those who did not, or do not, believe me and need visual proof you are to be well-treated. At least those in the Boston area and, perhaps, in your town if you push for it you will get a chance to see a Jeff Bridges retrospective at the local theater described in the “Boston Sunday Globe” linked article. The following is not an exclusive list of my choices but “Last Picture”, “Rancho Deluxe”, “Fat City”, “ The Big Lebowski”, and, of course “Crazy Hearts” should be on your dance card. If no retrospective is coming up in your area check out “Netflix”. They are all available on that site. Kudos, Duane. Kudos, Bad.
