*A Honky Tonk Man Encore- The Troubled Life And Musicial Genius Of Hank Williams

Click On Title To Link To YouTube's Film Clip Of Hank Williams And The Drifting Cowboys Doing "Cold Cold Heart".

DVD Review

Hank Williams-Honky Tonk Blues, Hank Williams and other artist and commentators, PBS Productions- American Masters Series, 2004

In a May 2009 review of a Hank Williams tribute album, "Timeless" , released in 2003(the 50th Anniversary of his death) I noted the following that is germane to a review of this very informative and balanced PBS "American Masters" production of the life and times of one of the legends of American roots music -country and western branch (and maybe more):

"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 (Montgomery, Alabama although I swear he is a Cajun boy), 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 so very far apart.

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.

"To The Original Honk-Tonk Man

Timeless; A 50th Anniversary Tribute to Hank Williams, various artists, UMG Recordings, 2001

In a review of a Hank Williams anthology in this space ("Gold", a two disc CD of most of the best known songs) noted that I have been listening to a local weekend folk, rock and contemporary music interview show here in Boston for years. The format of the show is to interview, in depth, contemporary well-known singers, songwriters and musicians as well as young unknowns looking to make their mark. One of the questions always asked of each interviewee is about formative influences on their musical development. Although I do not believe that I have ever heard what I would consider a country singer interviewed on the show the name Hank Williams has come up many more times than any other from young and old interviewees alike. That tells the tale of the importance of this man's work, beyond the obvious country influence.

Here some of those well-known musicians mentioned above pay tribute to Hank's influence by covering his songs for a 50th Anniversary of his death edition. A strange occasion for a tribute one might say, although no so for the fast-living, hard-driving, hard drinking Mr. Williams. The likes of Bob Dylan (a subject of many tribute covers himself) on a rocking " Can't Get You Off Of My Mind", Johnnie Cash reciting (recital or maybe, better, talking blues being a Williams speciality) the tearful "I Dreamed About Mama Last Night" and Beck on the mournful "You're Cheatin' Heart" do his memory honor with their own interpretations. I would note, however that, unlike a number of other artists such as the above-noted Dylan, that cover versions of Hank's songs do not usually measure up to the verve and imprint on the mind of his original renditions. The great exception here is Lucinda Williams (no relation, as far as I know) whose rendition of "Cold, Cold Heart" captured all the pathos, and more, of that tune. So long, one more time, Honky-Tonk Man. Listen on."

And watch this documentary.

******************

COLD COLD HEART Lyrics

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

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

Cool Water Lyrics


All [C] day I've faced the [G7] bar - ren waste
With [C] out the taste of [G7] wa-ter..... cool, [C] wa-ter.
Ole [F] Dan and I, with [G7] throats burned dry ,
and [C] souls that [F] cry
for [C] wa-ter.... [G7] cool, clear [C] wa-ter.

The [C] nights are cool and [G7] I'm a fool.
Each [C] star's a pool of [G7] wa-ter.... cool, clear [C] wa-ter.
And [F] with the dawn I'll [G7] wake and yawn
and [C] car-ry [F] on
to [C] wa-ter.... [G7] cool, clear [C] wa-ter.

The [C] sha - dows sway and [G7] seem to say
To- [C] night we pray for [G7] wa-ter.... cool, clear [C] wa-ter
And [F] way up there He'll [G7] hear our prayer
and [C] show us [F] where
there's [C] wa-ter.... [G7] cool, clear [C]wa-ter.

[C] Keep a-movin' Dan. Don't you [G7] listen to him Dan.
He's the [C] devil, not a man.
He [G7] spreads the burnin' sand with [C] wa-ter.
Say [F] Dan can't you see that [G7] big green tree,
where the [F] water's runnin' free.
It's [G7] waiting there for you and [C] me
and [G7] wa-ter.... cool, clear [C] wa-ter.

Dan's [C] feet are sore he's [G7] yearnin' for
Just [C] one thing more than [G7] wa-ter.... cool, clear [C] wa-ter.
Like [F] me I guess he'd [G7] like to rest
where [C] there's no [F] quest
for [C] wa-ter.... [G7] cool, clear [C] wa-ter.


HALF AS MUCH Lyrics

Written by Curley Williams 1952
Used by permission of Brent L. Weldon, Curley's grandson

If you love me half as much as I love you
You wouldn't worry me half as much as you do
You're nice to me when there's no one else around
You only build me up to let me down

If you missed me half as much as I miss you
You wouldn't stay away half as much as you do
I know that I would never be this blue
If you only loved me half as much as I love you
repeat both verses

Hey Good Lookin' Lyrics

Say hey good lookin'
whatcha got cookin'
how's about cookin' something up with me
Hey sweet baby
don't you think maybe
we could find us a brand new recepie

I got a hot rod Ford and a two dollar bill
and I know a spot right over the hill
There's soda pop and the dancin's free
so if you wanna have fun come along with me

Say hey good lookin'
whatcha got cookin'
how's about cookin' something up with me

[ steel - fiddle - steel ]

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 datebook over the fence
and find me one for five or ten cents
I'll keep it till it's covered with age
cause I'm writin' your name down on every page

Hey good lookin,whatcha got cookin
how's about cookin something up
how's about cookin something up
how's about cookin something up with meee




HONKY TONKIN' Lyrics

Words and music by Hank Williams, Sr.

When [G] you are sad and lonely and have no place to go
come to see me baby, and bring along some dough
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' [D7] 'round this [G] town.

When you and your baby have a fallin' out
Just call me up sweet mama and we'll go steppin' out
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' 'round this town.

We're goin' to the city - to the city fair
If you go to the city then you will find me there
And we'll go Honky Tonkin', Honky Tonkin'
Honky Tonkin', Honey Baby
We'll go Honky Tonkin' 'round this town.

Repeat first verse


I'm a Long Gone Daddy Lyrics

All you want to do is sit around and pout
And now I got enough and so I'm getting out

I'm leaving now
I'm leaving now
I'm a long gone daddy I don't need you anyhow

I been in the doghouse so doggone long
That when I get a kiss I think that something's wrong

(chorus)

I'll go find a gal that wants to treat me right
You go get yourself a man that wants to fight

(chorus)

You start your jaws a-wagging and it never stop
You never shut your mouth until I blow my top

(chorus)

I remember back when you were nice and sweet
Things have changed, you'd rather fight than eat

(chorus)

I'm a-gonna do some riding on the midnight train
I'm taking everything except my ball and chain

(chorus)

JAMBALAYA Lyrics

1. [D]Goodbye Joe, me gotta go, me oh [A]my oh
Me gotta go pole the pirogue down the [D]bayou
My Yvonne, the sweetest one, me oh [A]my oh
Son of a gun, we'll have good fun on the [D]bayou

CHORUS:
[D]Jambalaya, a-crawfish pie and-a file [A]gumbo
'Cause tonight I'm gonna see my ma cher a[D]mio
Pick guitar, fill fruit jar and be [A]gay-oh
Son of a gun, we'll have big fun on the [D]bayou.

2. Instrumental Verse (Country Fiddle solo)

3. [D]Thibodeaux, Fontenot, the place is [A]buzzin'
Kinfolk come to see Yvonne by the [D]dozen
Dress in style, go hog wild, me oh [A]my oh
Son of a gun, we'll have big fun on the [D]bayou.

REPEAT CHORUS

4. Instrumental Verse (Country Fiddle solo)

FINAL CHORUS:
[D]Jambalaya, a-crawfish pie and-a file [A]gumbo
'Cause tonight I'm gonna see my ma cher a[D]mio
Pick guitar, fill fruit jar and be [A]gay-oh
Son of a gun, we'll have big fun on the b[D]ayou.
Son of a [A]gun, we'll have big fun on the b[D]ayou.
Son of a [A]gun, we'll have big [A7]fun on the b[D]ayou.


YOU WIN AGAIN Lyrics

Recorded by Hank Williams, Sr.
Words and music by Hank Williams, Sr.

1st Verse:
[E] The [B7] news is [E] out - all over [A] town
That you've been [E] seen - a-runnin' [B7] 'round
I know that [E] I - should leave, but [A] then
I just can't [E] go - YOU [B7] WIN A- [E] GAIN.

1st Bridge:
This heart of [A] mine - could never [E] see
What ev'rybod - y knew but [B7] me
Just trusting [E] you - was my great [A] sin
What can I [E] do - YOU [B7] WIN A- [E] GAIN.

2nd Verse:
I'm sorry for - your victim now
'Cause soon his head - like mine will bow
He'll give his heart - but all in vain
And someday say - YOU WIN AGAIN.

2nd Bridge:
You have no heart - you have no shame
You take true love - and give the blame
I guess that I - should not complain
I love you still - YOU WIN AGAIN.


YOUR CHEATIN' HEART Lyrics

Your cheatin' heart,
Will make you weep,
You'll cry and cry,
And try to sleep,
But sleep won't come,
The whole night through,
Your cheatin heart, will tell on you...

When tears come down,
Like falling rain,
You'll toss around,
And call my name,
You'll walk the floor,
The way I do,
Your cheatin' heart, will tell on you...

Your cheatin' heart,
Will pine some day,
And crave the love,
You threw away,
The time will come,
When you'll be blue,
Your cheatin' heart, will tell on you...

When tears come down,
Like falling rain,
You'll toss around,
And call my name,
You'll walk the floor,
The way I do,
Your cheatin' heart, will tell on you...

*Those Oklahoma Hills Back Home- The Cowboy Songs Of Woody Guthrie

Click On Title To Link To YouTube's Film Clip Of Woody Guthrie Doing "So Long Its Been Good To Know You".

CD REVIEW

Buffalo Skinners: The Asch Recordings, Volume 4, Woody Guthrie, Smithsonian/Folkways, 1999

As I have mentioned on early reviews concerning the music of folklorist Woody Guthrie if any of the older generation, the “Generation of ‘68” needs an introduction to Woody Guthrie then I ask what planet have you been on. Woody’s “This Land Is Your Land” is practically a national anthem (and in some quarters is treated as just that). Not as well known, but which now should be rectified with the production of this fourth volume of Woody’s work from his most prolific Asch Recording period of the 1940’s, is his rather large compilation of Western cowboy-oriented material. This, as the title of this entry notes, reflects those Oklahoma hills back home from whence he came.

Woody as a folklorist, as well as a singer and songwriter, was not interested in the cowboy as created by the movies, especially the one-dimensional one created in the hey day of the cowboy movie in the 1930’s, but the real one. The one who spend many a lonely night out on the trail herding cattle to market; who went hungry and dusty for long periods; and, who was nicked up, kicked up and busted up by man and animal alike. And the one who liked his entertainments short and sweet, a little simple music, a lot of simple liquor and plenty of women on those raucous Saturday nights off the range. Not much room in those tales, either for 1930’s Hollywood or Woody’s for that matter, for the ones portrayed in literature by Larry McMurtry or Cormac McCarthy or on film by “Brokeback Mountain” or those not recognized until much later like those of the black cowboys of the Oklahoma range, but those are stories for another day.

This compilation covers a wide variety of songs that pay honor, justifiably or not, to the norms of the cowboy profession. “Ranger’s Command” and “Buffalo Skinners” give a sense of the hard life on the trail and the pitfalls of ignorant cowboys being taken in by primitive agrarian or industrial capitalists or their agents-and, as in the case, of “Buffalo Skinners” the quick and sure retribution when the rank and file cowboy got his dander up. Songs of the trail and its travails get a workout here, as well, in “Little Dogies” and “Chisholm Trail”. The loneliness of the life and the vagaries of love in such a transient profession are reflected in “Cowboy Waltz” and “Red River Valley”. The theme of ’rough and ready’ justice is revealed in songs like “Slipknot” and “Billy The Kid”. Overall these twenty- six tracks, several of which also have Woody's long time traveling friend Cisco Houston accompanying him(a man whose career and place in the folk pantheon deserves more attention separately), bring to life the ‘real’ cowboy experience as it was known in Woody’s time.

As always with a Smithsonian/Folkways production the CD includes a booklet of copious liner notes that detail, for the folk historian or the novice alike, the history of each song and its genesis. I am always surprised by the insightful detail provided and as much as I know about this milieu always find something new in them. Moreover, the information here provided inevitably details the rather mundane genesis of some very famous songs like “Pretty Boy Floyd”.

Note: I want to address separately the subject of one of Woody’s most famous songs, and perhaps one of the first of his songs that I remember hearing back in the days, the above-mentioned “Pretty Boy Floyd”. I have reviewed Larry McMurtry’s novel of the same title elsewhere in this space. That novel details the actual ‘exploits of this notorious murderer at the tail end of the Old West period (and maybe, really, the post-Old West period). Woody’s version reflects a 1930’s romantic notion of this primordial outlaw as a modern day Robin Hood. Thus, even a realist like Woody, who could write with compassion and wit about the real sufferings of his beloved Okies and others, got caught up in the myths of the Old West that have sustained generations of Americans, including this reviewer, eagerly looking for a heroic past. For all its false premises though, Woody’s “Pretty Boy” has a line that still has a kernel of folk wisdom that is what drew me to the song in the first place-“some men will rob you with a six gun, and some with a fountain pen”. Sounds prophetic, right?


Pretty Boy Floyd

If you'll gather 'round me, children,
A story I will tell
'Bout Pretty Boy Floyd, an outlaw,
Oklahoma knew him well.

It was in the town of Shawnee,
A Saturday afternoon,
His wife beside him in his wagon
As into town they rode.

There a deputy sheriff approached him
In a manner rather rude,
Vulgar words of anger,
An' his wife she overheard.

Pretty Boy grabbed a log chain,
And the deputy grabbed his gun;
In the fight that followed
He laid that deputy down.

Then he took to the trees and timber
To live a life of shame;
Every crime in Oklahoma
Was added to his name.

But a many a starving farmer
The same old story told
How the outlaw paid their mortgage
And saved their little homes.

Others tell you 'bout a stranger
That come to beg a meal,
Underneath his napkin
Left a thousand dollar bill.

It was in Oklahoma City,
It was on a Christmas Day,
There was a whole car load of groceries
Come with a note to say:

Well, you say that I'm an outlaw,
You say that I'm a thief.
Here's a Christmas dinner
For the families on relief.

Yes, as through this world I've wandered
I've seen lots of funny men;
Some will rob you with a six-gun,
And some with a fountain pen.

And as through your life you travel,
Yes, as through your life you roam,
You won't never see an outlaw
Drive a family from their home.

Welcome To Thalia- The Early Work of Larry McMurtry

BOOK/DVD REVIEW

The Eyes of Texas

Hud, starring Paul Newman, Patricia Neal and Melvyn Douglas, directed by Martin Ritt, UA, 1963

The last time I have had a chance to mention the work of Larry McMurtry, whose novel this movie is adapted from, was a recent review of his The Last Picture Show trilogy (a must read, by the way) concerning the coming of age, mid-life crises and struggles with mortality of a cohort of small town Texas characters, especially one Duane Moore. As usual when I get ‘high’ on an author I like to run through most of his or her work to see where he or she is going with it. Thus, this review of a lesser work turned into an exceptional film is something of an introduction to themes that McMurtry likes to give a work out in his literary efforts. Apparently, when it comes to bring to life the Texas of the 1950’s and 1960’s either cinematically or in book form your first (and maybe last stop, although I would give Horton Foote some play) is at Mr. McMurtry’s doorstep.

Okay, so what is the big deal? Take one young, world weary, cynical handsome and well-built ne’r-do-well 1950’s cowboy Paul Newman, complete with Cadillac and cowboy hat (and an eye for the ladies, needless to say). Take one old-time rancher father of said Hud, Melvyn Douglas giving the performance of his life as a man out of step with the times as oil-rich Texas is passing him by. Take one sultry (yes, sultry in a country sort of way) substitute mother as the household cook and drudge. Add, for generational purposes, a young teenage grandson the prototype for later characters that we shall see again in other Texas scenarios by McMurtry. Put them all together with all kinds of family, personal and social tensions and a ranch crisis brought on by an epidemic of cattle hoof and mouth disease. Film it in black and white (a natural medium for 1950’s- 1960’s modern cowboy movies-think the Misfits) and place it in small town Texas with all its pride, prejudices and customs. Then take a couple of hours to see how a well-written novel and a well-thought out film can mesh as one. This is the Texas of Larry’s dreams and ours. Kudos.

Horseman, Pass By, Larry McMurtry, University of Texas Press, 1961

I will concede that I have been on something of tear concerning the works of Larry McMurtry lately. That is just the way I operate when I find that rare novelist that “speaks” to me. Gore Vidal, the great American historical novelist, is another whose works you will be seeing reviewed more in this space. That said, the particularly purpose here is to compare McMurtry’s Horseman, Pass By with Hud, the cinematic version of this novel, that starred the recently deceased Paul Newman as a misbegotten, angry modern cowboy, a very talented actor from my youth. I, frankly, like to make such comparisons to see how close the film comes to the novel.

Some films, as I recall from an article that Joan Didion wrote in the New York Review of Books concerning one of her books, move very far away from the author’s intent. That happened in her case and she had to abandon the screenwriting of the film version of one of her books in the interest of her own artistic integrity. Some cinematic presentations, even more egregiously, pay bare homage to their source. That occurred in Ernest Hemingway’s To Have and To Have Not. Here the situation is something of a happy mix between the need to highlight the 1960’s blue-eyed heart throb Newman’s role as the errand, self-centered cowboy “angel” Hud and the coming of age story of his teenage nephew Lonnie that McMurtry is trying to portray here.

Naturally, as McMurtry’s intent is to show not only the ruthless way that the modern cowboy, Hud, has to deal with the world in order to survive but the vagaries of his nephew Lonnie’s coming of age in rural West Texas in the 1950’s (in the mythical town of Thalia the scene of more than one of his efforts) the screenwriting must reflect director Martin Ritt’s concerns to keep the story moving. Thus the book, unlike the movie, concentrates not on the action of the various events in ranch (the problem with the cattle that have to be destroyed) and small town life (the booze, dances and Last Picture Show movie house) that drive the film but the sheer struggle against loneliness and meaningless that every teenager goes through but more so here. Those feelings, described so well here (and in The Last Picture Show) do not translate well onto the screen.

There are a number of other characters and events in the book that do not make it to the screen. The family relationship between Grandpa Homer Bannon and Hud is different (although the generational tensions are still present). Grandma Bannon is still alive (as Homer’s second wife and Hud’s mother) and the housekeeper is black not white like in the film. Needless to say Newman’s sexual assault of the housekeeper (played by Patricia Neal) in the early 1960’s era film subject to more taboos than today is much less graphic than in the book. But a good suggestion here is to watch the film for the performances of Newman, Neal and Melvyn Douglas (as Homer) AND read this novel. This is McMurtry’s first effort at being the “king” of Texas story tellers (New West version and Old West version, as well). The pair of efforts compliment each other. That is a rare feat.

The Eyes Of Texas Are Upon You- The Work Of Larry McMurtry

BOOK REVIEWS

As mentioned previously I have developed a strong interest in the literary works of Larry McMurtry the Texas bibliophile, Western aficionado and pack rat. At the time I had only read The Last Picture Show part of his trilogy on small town oil boom (or bust)Texas. In the interest of completeness I have in included that first review along with the two other volumes that make up this work.

DVD/BOOK Review

The Last Picture Show, Larry McMurtry, Orion Mass Market Publications, 2000

There has been no shortage of coming of age stories in modern American literature. J. D. Salinger's Catcher in the Rye is merely the most famous and probably widely known of the genre. Here Larry McMurtry, the Texas bibliophile, Old West aficionado and pack rat gives us his take on growing up absurd in a faded semi- boom town Texas during the Korean War era of the early 1950's.

Although the locale is different from Catcher in the Rye the issues raised by the teenagers who drive the story and those of their perplexed and clueless parents are the same. And what do those issues entail? Sex, the meaning of existence, sex, what to do on Friday night, sex, what to do on Saturday night, sex- well you get the drift. And those dilemmas of youth and its fight for recognition as presented through the main characters Sonny and Duane are in McMurtry's hands well thought out and, at times, poignant. The attention to detail that McMurtry is noted for is on full display in the interplay between the 'jock' students, the nerds and the 'in' crowd. High school football, the whys and wherefores of the high school classroom and the shear fight to find one's own identity in this mix all contribute to a very strong trip down memory lane for this reader.

From my own personal experience I know how tough it was to grow up in the 1950's and it is good to see that there are indeed some universal ailments that are common to the 'tribal community' called youth in America. Moreover, read this book because it also has a few things to say about the adults, especially Sonny's lover the older woman and the football coach's wife Ruth, and their dilemmas as well. Damn, McMurtry is singing my song.

The film version of this book strongly evokes visually the points that McMurtry tries to make in the book. It helps that he was the screenwriter in this effort. Fine performances were turned in by the young Timothy Bottoms, Jeff Bridges and Cybil Sheppard as the object of Sonny and Duane's attentions . Also by Ben Johnson and Cloris Leachman, as Sonny's older woman lover.

Boom or Bust?

Texasville, Larry McMurtry, Simon and Schuster, New York, 1987

In the blink of an eye it seems we can go from a coming of age story to a mid-life crisis story. Or maybe it is just changing from one book to another. Ya, right? There may be a space of thirty years between the action in The Last Picture Show and Texasville but it hardly a blink of the eye. It takes effort to build up to the mid-life crisis (or better crises) that form the central idea of this novel as those of the generation of '68 and older are painfully aware. But so be it.

The last time we saw the characters who people these novels was Duane getting on the bus in Thalia to go off to basic training in 1954 and ultimately, he thinks, to Korea after a fight with his best friend Sonny over, who else, the flirty local femme fatale Jacy. They are both bewitched by her. The result of that fight was that Sonny lost the sight in one eye. That, however, after a thirty year interval was not the worst of it as a read of this book will confirm. Here, in any case, we have the old gang Duane, Sonny, the sultry Jacy and some new arrivals- Karla, Duane's wife, a slew of kids, a beloved dog Shorty and a cast of a score of locals some who have been resurrected from The Last Picture Show, others who have drifted in with the oil boom that is ready to bust in the 1980's. In any case, for those who are interested, if you read the whole book, you will find out what happened to every character from the Last Picture Show. That is the good part.

The bad part is that this thing is just too long. Duane's, Karla's, Jacy's, and the whole host of 40-somethings who are going through the storms of mid-life crisis stories are not enough to warrant a five hundred plus page book. Hell, this book took longer to read that some mid-life crises, especially Duane's. Even if you add in celebration of a town centennial to `liven' things up the thread is not there. The marital problems and infidelities of small town Texas, the bust up of a man's life work due to the international oil glut and assorted other problems from the 1980's when oil was only about fifteen dollars a barrel pale in comparison with $100 a barrel oil now. Those are `real' problems. That little difficulty of length aside, which keeps this from being a five-star review, McMurtry cannot write a bad novel, at least to these eyes thus far. Larry, just make this kind of story 400 pages or so, you know as long as it would take to tell of your own mid-life crisis. Okay?

In Search Of Lost Time

Duane’s Depressed, Larry McMurtry, Simon and Schuster, New York, 1999

In the blink of an eye it seems we can go in this The Last Picture Show trilogy from a coming of age story in the Last Picture Show to a mid-life crisis story in Texasville to the struggle against mortality during old age story here. Or maybe it is just changing from one book to another. Ya, right? There may be a space of thirty years between the action in The Last Picture Show and Texasville and another fourteen between Texasville and Duane's Depressed but it hardly a blink of the eye. It takes effort to build up to the mid-life crisis (or better crises) and then apply those lessons to the struggle against mortality that form the central idea of this novel as those of the generation of '68 and older are painfully aware. But so be it.

By one of life's little quirks this reviewer is the same age as Duane in this phase of his life's story, 62. Therefore the reviewer can sympathize, understand and relate to the struggle against the vicissitudes of mortality that, in the final analysis, Duane is struggling against. Duane's whole life has been consumed by the notion of duty, doing the right thing and keeping his own counsel to the exclusion of having any close personal relationships, including with his wife Karla. One day he decides, rightly by this reviewer's lights, to chuck his old life, at least the symbols of it. The tale told here revolves around that break out, the effect on his marriage and the subsequent lost of his dear wife Karla in a fatal automobile accident and his struggle to find a new place in his world without her. Along the way Jacy and Sonny, the companions of his youth in what seems like an eternity ago in the Last Picture Show also pass from the scene. In an odd sense Duane is the last one standing.

Needless to say all of this introspection is going to take a lot out of a very stoic man like Duane. Moreover, a review of his whole life means a look at lots of things that are not obvious. Probably the best little literary trick that McMurtry uses here is to link Duane up with a sexually unattainable woman psychiatrist who recommends reading Marcel Proust's Remembrances of Things Past as a form of discovery. This, as some readers may know, is a monumental work that has baffled more than one intellectual as to its meaning. Hell, on reflection, it probably baffled Proust. The trick is that uneducated but intrepid Duane actually struggled to read it over the course of a year. I suggest that the alternate translation of Proust's book is more appropriate to what Duane was looking for in this novel-In Search Of Lost Time. That, my friends, is what we all face as we face mortality. If you are going to read anything by Larry McMurtry read this trilogy. That's the ticket.


Duane’s World, Part IV

When The Lights Go Out: A Novel, Larry McMurtry, Simon and Schuster, New York, 2007

I have recently fulsomely praised Larry McMurtry’s The Last Picture Show trilogy (The Last Picture Show; Texasville: Duane’s Depressed) a saga centered on the coming of age, mid-life crisis and struggle with mortality of one small town Texas oilman and good old boy Duane Moore. Frankly, I thought with the review of Duane’s Depressed concerning Duane’s struggle to find relevance in his life as he hovers around old age and faces the grim reaper that I was done with this series. Needless to say that was not the case. Although I wish it were so.

I mentioned in my review of The Last Picture Show that the coming of age story described there boiled down to what to do on high school Friday night-the search for sexual companionship. What to do on high school Saturday night-the search for sex- you get the drift. Apparently in his dotage Duane is hung up on that same aspect of the tragedy behind that human drive except he has included weekdays. That, however, is not enough to sustain this slim novel. Moreover, I believe that Mr. McMurtry knows that as he has tried to spruce up his plot and characters with every current sociological trend known to the American scene- the search for a trophy wife, daughter Nellie’s gayness, daughter Julie’s nunnery prospects, his lesbian psychiatrist’s off-hand desire to throw away all her profession ethics for a chance to go to bed with Duane and the South Asian invasion of the mom and pop business marketplace, reliance on sexual aids, etc. Come on now, Larry this is not even Austin.

I once commented in a review of Howard Fast’s Immigrant series set in California over a couple of generations that during the course of the work his characters intersected every possible leftist political impulse in pursue of filling out the story line. I mentioned, at some point well before the last book, that the series had run out of steam. That, sad to say, has happened to Mr. McMurtry here. His story has run out of steam. What is left? Duane as the “stud” at his Thalia (or Wichita Falls) assisted living facility. He deserves better. Larry, put out the light. Please.

*That Other Musician From The Hills Of Oklahoma-The Music Of Bob Wills And His Texas Playboys- “Western Swing's Greatest Hits"

Click on title to link to YouTube'sfil clip of Bob Wills And his Texas Playboys performing "Faded Love".

CD Review

The King Of Western Swing:Bob Wills and His Texas Playboys, Bob Wills and various artists who made up his Texas Playboys bands, ASV, 1998

Every once in a while I like a little change of pace from my main folk/rock/mountain music interest. Usually, that entails getting out the old jazz classics like Duke Ellington or Benny Goodman. However, every so often it also includes getting up a little dust with old Bob Wills. His countrified swing from the heyday of that genre is a pleasant surprise taken in small doses. Remember not everyone who needed to swing in order to drive away those Great Depression and World War II blues was in the city. Wills played around with and adapted the swing idea to that rural Saturday night barn dance milieu. From ballads like "Right or Wrong" to stompers like "Sugar Blues" to the haunting "Lone Star Rag" you get a good beginner mix with this album. That is as far as I am willing to take you. If you need more then you are on your own.

Faded Love

As I look at the letters that you wrote to me
It’s you that I’m thinking of
As I read the lines that to me were so sweet
I remember our Faded Love.
I miss you darling more and more every day
As heaven would miss the stars above.
With every heartbeat I still think of you
And remember our Faded Love.

As I think of the past and all the pleasures we had
As I watch the mating of the dove
It was in the springtime that you said goodbye
I remember our Faded Love
I miss you darling more and more everyday
As heaven would miss the stars above
With every heartbeat I still think of you
And remember our Faded Love


You're From Texas

Pardon me, stranger I hope there's no danger
You'll think I'm getting' off my range
But I calculate that you're from my state
And thought you may think it strange.

Chorus
I 'low as how you're from Texas
You talk a lingo I understand
I'll bet my kale that you hail from Texas
'Cause there's no mistakin' the brand
You've got a smile like an acre of sunflow'rs
And your eyes are a blue bonnet blue.
Shake hands, it's grand your from Texas
'Cause I'm from Texas too.

How The West Was Won?

DVD Review

Magnificent Seven, 1960

The portrayal of the American cowboy has undergone a dramatic upheaval since the time of my youth in the 1950’s when the image of John Wayne as the Maximum Cowboy held sway. In such films as Red River Valley we were presented with morality plays that displayed white American manhood (and marginally, womanhood) and frontier virtue, etched in starkly black and white terms, from a long gone era. Since then we have been presented with good bad cowboys, bad good cowboys, spaghetti western cowboys, down on their luck corrupt cowboys, end of the line cowboys and gay cowboys. From the classic The Misfits to Brokeback Mountain we have seen the cowboy turn from a simple slow to draw, slow to anger angel of deliverance to a much more nuanced figure on the screen with an internal life almost as conflicted as our own.

No small part in this turnaround has been played by the work of the likes of Larry McMurtry who have taken a deep knowledge of the real West and presented us with a truer vision of what the westward expansion of America was all about. Today however, in the movie under review, The Magnificent Seven (hereafter, the Seven), we hark back to that earlier concept that I mentioned above when all a man needed was a horse, a few weapons of choice and plenty of open space.

The Magnificent Seven, interestingly, was first screened in the early 1960’s in the same period as the Misfits. Both films had plenty of well-acted performances (including by Eli Wallach in both films), understandable, if sparse, dialogue and nice plot lines. However, apart from those similarities they go there separate ways in looking at the heroic figure of the American cowboy and his fate in a modernizing world.

The plot line of the Seven is fairly simple, as is usually the case with old time oaters, as a village of beleaguered Mexican farmers being bled white by a gang of Mexican bad guys seeks help from north of the border. In forming a small army of motley gunfighters to battle against evil Chris (played by Yul Bryner) has gathered in every social type, from pathological killer to raw kid on the make, known to the western. However when the deal goes down the good guys beat the bad guys. Straight up. The cast of actors used to fill the roles of the gunfighters was basically a who’s who of macho male actors, from Bryner to McQueen to Vaughn, of the early 1960’s. Here high testoserone meets a worthy cause.

Although there are plenty of doubts about the virtues of the cowboy lifestyle expressed by the lead cowboys, particularly by Steve McQueen, this film’s central premise is that it takes such types with their well-worn sense of honor to right the wrongs of the little world that they have decided to inhabit. In a sense this is the Last Chance to give meaning to all those macho qualities that we have been told created the vast American West. Adios.

THE END OF THE AMERICAN FRONTIER-THE MISFITS, CLARK GABLE, MARILYN MONROE, MONTGOMERGY CLIFT, 1961

DVD REVIEW

THE MISFITS, CLARK GABLE, MARILYN MONROE, MONTGOMERGY CLIFT, 1961

What is not to like about a movie set in the modern American West where civilization is fast taking the starch out of the independent-minded cowboys and their hangers-on who are trying to hold on for dear life. They had obviously not read Harvard Professor Turner's thesis about the end of the American frontier. The code of the old West and its values is losing its effect by the day to the ethos of the modern capitalist farmer and rancher. Larry McMurtry in his book and subsequent film The Last Picture Show as well as others have also taken up this theme but none have done it better on film than The Misfits.

Add a screenplay by the legendary playwright Arthur Miller. Further add the strong performances, aided by the black and white format, of a grizzled Clark Gable, the ill-fated Marilyn Monroe and the troubled Montgomery Clift supported by Thelma Ritter and Eli Wallach and you have a very good film indeed. I have read that Miller’s screenplay was written especially for Monroe, his then wife. If so that explains why this story about castoffs, drifters and non-conformists looking for some emotional relief in the new West that has passed them by had such a powerful effect on me. Monroe as the beautiful but hard luck and misunderstood object of affection seemingly was playing herself here. And to great effect. Watch it.