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
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 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 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.
T For Texas, Texas Blues-Willie Nelson’s Milk Cow Blues (2000)-A CD Review
CD Review
By Zack James
Milk Cow Blues, Willie Nelson and others, 2000
My old high school friend Seth Garth whom I am still in close touch with reminded me the other day when he was over at my house and I had the CD under review playing in the background, Willie Nelson’s Milk Cow Blues, that back in the early 1980s he recalled that I had had what he called my “outlaw country cowboy moment.” I didn’t recall that I uttered that particular expression although I did recall that I had for a brief period been drawn to the likes of Willie, Waylon Jennings, Townes Van Zandt and a number of other singer-songwriters who broke out of the traditional stylized Nashville formula mold epitomized then by guys like George Jones and gals like Loretta Lynn and Tammy Wynette. Just then rock and roll was taking one of its various detours 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 and the blues was losing its star performers by the day and the younger crowd was heading to what would become hip-hop tradition so I was up for listening to something different. Willie, not clean-shaven, pony-tailed, not shining sparkly suit Willie filled the bill.
Yeah, Willie filled the bill with songs about two-timing men, women too, lost love, the heartache of love relationships, getting out from under some rock that was weighting him down but down in soulful, thoughtful way with a bit of a gravelly voice, a kind of voice that always had the ability to draw me in, to make me stop what I was doing and listen up. Of course I had remembered back then that Willie had written a song that Patsy Cline whom I had always liked had made famous in the late 1950s, Crazy, which I had learned about when I was at Cheapo Records over in Cambridge looking for some bluesy stuff back in the 1960s.
Fast forward to 2000 and this CD. I had expected that Willie, now ancient Willie if he had written Crazy back in the 1950s, would still be grinding out in his twangy way the old classics which fill out this album. Would put his Texas touch on these standards. Guess what-he switched up on me, made an album of well-known covers made hits by some very famous like Cline, Bessie Smith, B.B. King (who is featured on a couple of songs here), Jerry Lee but changed the tempo. Put everything in a bluesy frame, and let the beat go on. Let the music carry the day with whoever was singing along with him on each cut. Not a recognizable cowboy sound in the house. Now part of that switch-up represented the hard fact that age had like with Bob Dylan rusted up his voice and so he no longer tried, or was capable of hitting the high white notes. Part of it was to let the other singers or the musicians carry the force of the songs. But guess what if you, and Seth agreed with me on this, need some nice jazzy, bluesy background music this one fills the bill. Yeah, we all have come a long way from that old “outlaw country cowboy moment” Seth claimed I was in thrall to. Enough said.
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
Click On Title To Link To YouTube's Film Clip Of Hank Williams Doing "I'm So Lonesome I Could Cry".
DVD Review
In The Hank Williams Tradition Hank Williams, Jr. and various artists, White Star Productions, 2002
In a May 2009 review of a Hank Williams 50th Anniversary of his death tribute album, “Timeless”, and in a September 2009 review of the informative and balanced, “Honky-Tonk Blues”, a PBS "American Masters” production of the life and times of one of the legends of American roots music -country and western branch I made the following comments most of which are germane to this 2002 tribute album to him from various artists who worked with him or were influenced by his music:
“A musical performer knows that he or she has arrived when they have accumulated enough laurels and created enough songs to be worthy, at least in some record producer's eyes, of a tribute album. When they are also alive to accept the accolades as two out of the four of the artists under review are, which in these cases is only proper, that is all to the good. That said, not all tribute albums are created equally. Some are full of star-studded covers, others are filled with lesser lights that have been influenced by the artist that they are paying tribute to. As a general proposition though I find it a fairly rare occurrence, as I have noted in a review of the “Timeless” tribute album to Hank Williams, that the cover artist outdoes the work of the original recording artist. With that point in mind I will give my “skinny” on the cover artists here……
And that is the essential point that separates the musical greats like Hank Williams from the transitory stars of the day. Over fifty years after his death his songs, heartfelt, tragic, depressive, and on a few occasions whimsical still “speak” to musicians and modern listeners alike. His life‘s story, as told here through commentary by those who knew and worked with him, including various members of his “Drifting Cowboys” back-up bands, his widow, his son and grandson Hank II and III respectively, his stepdaughter and various other hometown folks, musical collaborators and music historians unrolls very much like a....Hank Williams ballad. And that again is the point-here is a case where life and art are not far apart....”
I also mentioned the following which also applies here as the various performers, including son Hank Williams, Jr., give their takes on the meaning of his music, some of the specifics of the ups and downs of his too short and troubled life and his permanent place in the American Songbook:
“Since the music is what is eternal in this troubled man’s life let me finish up here with a reposting of that “Timeless” tribute album review mentioned above. It is that simple yet profound music that gives the essence of the man, his seemingly eternal marriage troubles (and some joys too, I think), his losing battle against drugs and alcohol and his search back for the happier days of his poor boy roots in Alabama after fame and fortune proved too narrow to satisfy whatever was eating at him inside.”
With all that build-up all that is left to do is mention some of the performers that give their comments and cover his songs here. Let me mention that I am not generally a country and western aficionado but from what I can tell this line-up is something of a who’s who of the last fifty years or so of this genre. That statement kind of says it all. Chet Atkins does an instrumental version of “So Lonesome I Could Die”. Roy Acuff sings and talks about Hank. Grand Ole Opry fixture Minnie Pearl just talks. Randy Travis and Ricky Skaggs sing out a couple of nice covers. Willie Nelson does a nice version of “My Bucket’s Got A Hole In It”. Waylon Jennings (“The News Is Out All Over Town”) and Kris Kristofferson (doing one of Hank’s recitation pieces) represent the “country outlaw” tradition (as does Willie) that is the catch that has always drawn this reviewer to Hank Williams. Emmylou Harris, as always, sparkles in a couple of songs. Hank Williams, Jr. does his own song about his take on the relationship between his mother and father and leads the all-cast finale. In short, this hour presentation crams in covers of virtually every well-known Williams song. Nice stuff, Hank Williams aficionado or not.
"COLD COLD HEART"
I tried so hard my dear to show that you're my every dream. Yet you're afraid each thing I do is just some evil scheme A memory from your lonesome past keeps us so far apart Why can't I free your doubtful mind and melt your cold cold heart
Another love before my time made your heart sad and blue And so my heart is paying now for things I didn't do In anger unkind words are said that make the teardrops start Why can't I free your doubtful mind,and melt your cold cold heart
"HONKY TONK BLUES"
[E]Well I left my home down on the rural route I told my paw I'm going steppin out and get the [A7] Honky tonk blues, Yeah the honky tonk [E] blues Well [B7] lord I got 'em, I got the ho-on-ky tonk [E] blues.
[E] Well I went to a dance and I wore out my shoes woke up this mornin wishin I could lose them jumpin [A7] honky tonk blues, Yeah the honky tonk [E]blues Well [B7] lord I got 'em, I got the ho-on-ky tonk [E] blues.
Solo [E] [A] [E] [B7]
[E]Well I stopped into every place in town this city life has really got me down I got [A7] the honky tonk blues, Yeah the honky tonk [E]blues Well [B7] lord I got em, got the ho-on-ky tonk [E] blues.
[E] I'm gonna tuck my worries underneath my arm And scat right back to my pappy's farm And leave these [A7] honky tonk blues, Yeah the honky tonk [E] blues [B7] Well lord I got 'em, I got the ho-on-ky tonk [E] blues.
unrecorded last verse (from KPFA, ~1993)
When I get home to my Ma and Pa, I know they're gonna lay down the law. About the honky tonk blues, Them jumpin' honkty tonk blues. Lord I'm suffrin' with the honky tonk blues.
You'll never know how much it hurts to see you sit and cry You know you need and want my love yet you're afraid to try Why do you run and hide from life,to try it just ain't smart Why can't I free your doubtful mind and melt your cold cold heart
There was a time when I believed that you belonged to me But now I know your heart is shackled to a memory The more I learn to care for you,the more we drift apart Why can't I free your doubtful mind and melt your cold cold heart
"HEY, GOOD LOOKIN'"
Words and music by Hank Williams, Sr.
Hey, [C] Hey, Good Lookin', whatcha got cookin' [D7] How's about cookin' [G7] somethin' up with [C] me ... [G7] [C] Hey, sweet baby, don't you think maybe [D7] We could find us a [G7] brand new reci-[C] pe. ... [C7]
I got a [F] hot rod Ford and a [C] two dollar bill And [F] I know a spot right [C] over the hill [F] There's soda pop and the [C] dancin's free So if you [D7] wanna have fun come a-[G7] long with me.
Say [C] Hey, Good Lookin', whatcha got cookin' [D7] How's about cookin' [G7] somethin' up with [C] me.
I'm free and ready so we can go steady How's about savin' all your time for me No more lookin', I know I've been (*tooken) How's about keepin' steady company.
I'm gonna throw my date book over the fence And find me one for five or ten cents. I'll keep it 'til it's covered with age 'Cause I'm writin' your name down on ev'ry page.
Say Hey, Good Lookin', whatcha got cookin' How's about cookin' somethin' up with me.
Click On Title To Link To YouTube's Film Clip Of Mary McCaslin Doing "Prairie In The Sky". CD Review
Prairie In The Sky, Mary McCaslin, Rounder Records, 1995
This review has also been used for McCaslin's "Broken Promises" CD.
Okay, okay I have had enough. Recently I received a spate of e-mails from aging 1960's folkies asking why, other than one review of Carolyn Hester's work late in 2008, I have not done more reviews of the female folkies of the 1960's. To balance things out I begin to make amends here. To set the framework for my future reviews I repost the germane part of the Carolyn Hester review:
"Earlier this year I posed a question concerning the fates of a group of talented male folk singers like Tom Rush, Tom Paxton and Jesse Colin Young, who, although some of them are still performing or otherwise still on the musical scene have generally fallen off the radar in today's mainstream musical consciousness, except, of course, the acknowledged "king of the hill", Bob Dylan. I want to pose that same question in this entry concerning the talented female folk performers of the 1960's, except, of course, the "queen of the hill" Joan Baez. I will start out by merely rephrasing the first paragraph from the reviews of those male performers.
"If I were to ask someone, in the year 2008, to name a female folk singer from the 1960's I would assume that if I were to get an answer to that question that the name would be Joan Baez (or, maybe, Judy Collins but you get my point). And that would be a good and appropriate choice. One can endlessly dispute whether or not Baez was (or wanted to be) the female voice of the Generation of '68 but in terms of longevity and productivity she fits the bill as a known quality. However, there were a slew of other female folk singers who tried to find their niche in the folk milieu and who, like Baez, may today still quietly continue to produce work and to perform. The artist under review, Carolyn Hester, certainly had the talent to challenge Baez to be "queen of the hill."
Well, as the CD under review will testify to, the singer /songwriter Mary McCaslin also was in contention, back in the days. I am not familiar with the current status of Ms. McCaslin as a performer although I know several years ago I attended a benefit concert to raise funds for her medical needs. Nevertheless I can remember the first time I heard her in a coffeehouse in Cambridge doing Woody Guthrie's "Oklahoma Hills Back Home". And that was appropriate as Ms. McCaslin is certainly in her singing style and her songwriting interests attached to the Western United States. That tradition got an additional acknowledgement in that Cambridge performance when she brought down the house with her version of the country classic "Pass Me By If You're Only Passing Through".
That western theme and, in addition, several more inward searching tracks, make this a very representative McCaslin effort. Needless to say "Pass Me By" sticks out on the first theme and "Prairie In The Sky" on the second. She also does a very fine version of the old Ames Brothers (I think) "Ghost Riders In The Sky". So, all in all, whatever her later personal journey back in the days she could have been a contender for "queen of the hill". Listen up.
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.
