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Showing posts with label outlaw country music. Show all posts
Showing posts with label outlaw country music. Show all posts
Click on title to link to YouTube's film clip of Townes Van Zandt performing "Tecumseh Valley".
CD Review
In The Beginning, Townes Van Zandt, Compadre Records, 2003
This main points in this review have been used in reviews of other Townes Van Zandt material.
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals (think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, “In The Beginning”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core early works in one place. This material, as the extensive liner notes reveal, was material that Townes performed very early in his career and had mislaid to be released only in 2003 several years after his death. Pay particular attention to some of the lyrics that are harbingers of later work like “Tecumseh Valley” and “Don’t You Take It Too Bad”. For those who thought that Townes merely evolved into his dark lyrics this one will disabuse you of that notion. He was always dark. Stick outs here are: “Black Widow Blues”, Black Jack Mama”, “Colorado Bound”, and “Black Crow Blues”. Blues is the dues, okay.
Waiting Around To Die
townes van zandt
Sometimes I don't know where
This dirty road is taking me
Sometimes I can't even see the reason why
I guess I keep a-gamblin'
Lots of booze and lots of ramblin'
It's easier than just waitin' around to die
One time, friends, I had a ma
I even had a pa
He beat her with a belt once 'cause she cried
She told him to take care of me
Headed down to tennessee
It's easier than just waitin' around to die
I came of age and I found a girl
In a tuscaloosa bar
She cleaned me out and hit in on the sly
I tried to kill the pain, bought some wine
And hopped a train
Seemed easier than just waitin' around to die
A friend said he knew
Where some easy money was
We robbed a man, and brother did we fly
The posse caught up with me
And drug me back to muskogee
It's two long years I've been waitin' around to die
Now I'm out of prison
I got me a friend at last
He don't drink or steal or cheat or lie
His name's codine
He's the nicest thing I've seen
Together we're gonna wait around and die
Together we're gonna wait around and die
Click On Title tO Link To YouTube's Film Clip Of Townes Van Zandt Doing His "Tecumseh Valley".
CD Review
A Townes Van Zandt Tribute
Legends, Townes Van Zandt and various artists, 2002
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, "Legends", gives both the novice a Van Zandt primer and the aficionado a fine array of his core works in one place. This CD came out after his death and, I believe, is the subject of some legal controversy with his estate. However, the two discs (plus nice bonus duets with assorted well-regarded fellow artists like Willie Nelson). Start with the above-mentioned "Pancho and Lefty", work through the longing felt in "If I Needed You", and the pathos of "For The Sake Of The Song" that could serve as a personal Townes anthem. Then on to the sadness of "No Place To Fall" and "Waiting Round To Die". Finally, round things out with the slight hopefulness of "Colorado Girl" and the epic tragedy of "Tecumseh Valley". Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. Get to it.
Click On Title To Link To YouTube Film Clip Of The Trailer To "Be Here To Love Me"
DVD Review
Be Here To Love Me, Townes Van Zandt and other musicians, directed by Margaret Brown, Palm Pictures, 2006
The main points of this review have been used to review Townes Van Zandt CDs in this space. They can serve here as well in this very well done documentary by Margaret Brown on the hard times and great lyrics of a very troubled man.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape.I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Click on the headline to link to a "YouTube" film clip of the movie trailer for "Crazy Hearts".
DVD Review
Crazy Hearts, starring Jeff Bridges, Fox Searchlight, 2009
This one is easy. See it. Why? Well, if for no other reason that Jeff Bridges finally won an Academy Award for his lead role as Bad Blake in it, a role that he has been waiting for about forty years to cash in on. Every since I first saw Bridges as Duane in the screen version of Larry MacMurtry’s great novel of the New West, “The Last Picture Show”, I have known that he had the righteous, good-hearted, hard-drinking, devil-take-the-hinter post, sexually energetic and troubled “old geezer” that he personifies in the Blake role in him. He has done other fine performances but there is something just a little extra that he brings to that good-ole-boy role, young or old.
And here is the kicker. As most of those in America who have being paying attention in the lead-up to the Oscars know this film is about an alcoholic, back roads traveling, down on his luck, hard living country singer, an “outlaw” singer for sure. But also a man in desperate need of either a good woman or a good twelve step program, or both. That premise drives the action and the music. The Blake character could be based on about twelve guys from the 1970s with that fistful of “outlaw cred” from Waylon Jennings to Townes Van Zandt (whose “If I Needed You” is part of the soundtrack here). And that is my final point. Back in those days I had what I call my “country moment”. I gravitated toward the “outlaw country” sound, especially that of Townes Van Zandt, from my permanent berth deep in the blues, city and country, and to a lesser extent, folk. The Jeff Bridges/Bad Blake character is just the cinematic expression of that moment for me. Kudos.
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing "Dollar Bill Blues".
CD Review
Flyin’ Shoes, Townes Van Zandt, Tomato Records, 1972
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
Here the ones to give a close listen to are the haunting "Loretta" about a common Van Zandt topic of "fallen women"; the prophetic and self-explanatory "No Place to Fall", the title track "Flyin' Shoes"; a righteous cover of the old Bo Didderly classic "Who Do You Love"; the mournful "When She Don't Need Me"; and, the ambiguous (about whether he misses the horse or the woman more that may give a newcomer a small inkling to the Van Zandt personality) "Buckskin Stallion Blues".
Click On Title To Link To YouTube's Film Clip Of Townes Van Zandt Doing His Song "Waitng Around To Die"
CD Review
Early Townes
Townes Van Zandt, Townes Van Zandt, Tomato Records,
The main points of this review have been used to review other Townes Van Zandt CDs.
Readers of this space are by now very aware that I am in search of and working my way through various types of American roots music. In shorthand, running through what others have termed "The American Songbook". Thus I have spent no little time going through the work of seemingly every musician who rates space in the august place. From blues giants, folk legends, classic rock `n' roll artists down through the second and third layers of those milieus out in the backwoods and small, hideaway music spots that dot the American musical landscape. I have also given a nod to more R&B, rockabilly and popular song artists then one reasonably need to know about. I have, however, other than the absolutely obligatory passing nods to the likes of Hank Williams and Patsy Cline spent very ink on more traditional Country music, what used to be called the Nashville sound. What gives?
Whatever my personal musical preferences there is no question that the country music work of, for example, the likes of George Jones, Loretta Lynn and Tammy Wynette in earlier times or Garth Brooks and Faith Hill a little later or today Keith Urban and Taylor Swift (I am cheating on these last two since I do not know their work and had to ask someone about them) "speak" to vast audiences out in the heartland. They just, for a number of reasons that need not be gone into here, do not "speak" to me. However, in the interest of "full disclosure" I must admit today that I had a "country music moment" about thirty years ago. That was the time of the "outlaws" of the country music scene. You know, Waylon (Jennings) and Willie (Nelson). Also Kris Kristofferson, Johnny Cash and Jerry Jeff Walker. Country Outlaws, get it? Guys and gals ( think of Jesse Colter)who broke from the Nashville/ Grand Old Opry mold by drinking hard, smoking plenty of dope and generally raising the kind of hell that the pious guardians of the Country Music Hall Of Fame would have had heart attacks over (at least in public). Oh, and did I say they wrote lyrics that spoke of love and longing, trouble with their "old ladies" (or "old men"), and struggling to get through the day. Just an ordinary day's work in the music world but with their own outlandish twists on it.
All of the above is an extremely round about way to introduce the "max daddy" of my 'country music moment', Townes Van Zandt. For those who the name does not ring a bell perhaps his most famous work does, the much-covered "Pancho And Lefty". In some ways his personal biography exemplified the then "new outlaw" (assuming that Hank Williams and his gang were the original ones). Chronic childhood problems, including a stint in a mental hospital, drugs, drink, and some rather "politically incorrect" sexual attitudes. Nothing really new here, except out of this mix came some of the most haunting lyrics of longing, loneliness, depression, sadness and despair. And that is the "milder" stuff. Not exactly the stuff of Nashville. That is the point. The late Townes Van Zandt "spoke" to me (he died in 1997) in a way that Nashville never could. And, in the end, the other outlaws couldn't either. That, my friends, is the saga of my country moment. Listen up to any of the CDs listed below for the reason why Townes did.
Townes Van Zandt was, due to personal circumstances and the nature of the music industry, honored more highly among his fellow musicians than as an outright star of "outlaw" country music back in the day. That influence was felt through the sincerest form of flattery in the music industry- someone well known covering your song. Many of Townes' pieces, especially since his untimely death in 1997, have been covered by others, most famously Willie Nelson's cover of "Pancho and Lefty". However, Townes, whom I had seen a number of times in person in the late 1970's, was no mean performer of his own darkly compelling songs.
This compilation, “Townes Van Zandt”, gives both the novice a Van Zandt primer and the aficionado a fine array of his core early works in one place Start with “Don’t You Take It Too Bad”, work through the longing felt in “I’ll Be Here In The Morning”, and the pathos of “For The Sake Of The Song” that could serve as a personal Townes anthem. Then on to the sadness of “Columbine” and “Waiting’ Round To Die”. Finally, round things out with the slight hopefulness of “Colorado Girl” and the epic tragedy of “None But The Rain”. My special favorite here, as attested to by an old worn out LP album version of this CD is "(Quicksilver Daydreams of) Maria". For sheer poetic lyrical form I do not think Townes did one better, the thing jumps with many apt metaphors. Many of these songs are not for the faint-hearted but are done from a place that I hope none of us have to go but can relate to nevertheless. This well thought out product is one that will make you too a Townes aficionado. A welcome addition are the copious liner notes that give some sense of his life, his work and his lyrics. Get to it.
Click on the headline to link to a YouTube film clip of Steve Earle covering Townes Van Zandt's Colorado Girl.
CD Review
Townes, Steve Earle, New West Records, 2009
I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of the man who Steve Earl is paying tribute to here, Townes Van Zandt. And while this outlaw country thing was short-lived and I scrabbled back to my first loves, blues, rock and folk music I always had time to listen to Townes. And today listen to Townes through the medium of Steve Earle.
As the liner notes indicate Steve Earle and Townes shared some common time together and Earle learned much of his trade at the side of Townes so it is rather appropriate that Steve has produced this tribute album to his fallen comrade. Townes led a nomad live, have some very peculiar ideas about life and about how it was to be lived but he knew how to write songs. Songs of sorrows, songs of grief, songs of lost loves and lost opportunities. And even a few “happy” ones, although those do not stand the test of time as well as the more moody ones. And in his own way Steve Earle has captured those emotions, and in his own style. That style on some songs seemingly very close in voice and sound to some of Bruce Springsteen’s later folk-oriented work.
The stick outs here are the hauntingly beautiful Colorado Girl; the lyrical No Place To Fall; the hard-edged Loretta; and my favorite Townes songs, the wistfully symbolic, magically word-mastered (Quicksilver Daydreams of) Maria.
Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, Back On Top.
CD Review
Back On Top, Van Morrison, Exile Productions, 1999
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Back on Top, and another “outlaw” country music man, the "Belfast Cowboy," Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy. But he ain't no one-trick pony, no way. This guy is a musical songbook of the late 20th century.
If you do not believe me then just listen to him ante up on Goin’ Down Geneva, a classic bluesy number; the thoughtful The Philosophers Stone; the pathos of High Summer; the title song Back On Top; and, something out of time, something out of a place that few musicians, hell, few people, go Golden Autumn Day. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves.
Click on the headline to link to a YouTube film clip of Van Morrison performing the title song from the album under review, How Long Has This Been Going On.
CD Review
How Long Has This Been Going On, Van Morrison, with Georgie Fame and the Flames, Exile Productions, 1995
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way.
If you do not believe me then just listen to him ante up on Early In The Morning , a classic bluesy number; the thoughtful Gershwin tuneHow Long Has This Been Going On ; the pathos of That’s Life;and, Blues In The Night; and, something out of lost time,Early In The Morning. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And kudos to Brother Fame, who rode that same train, as well.
Click on the headline to link to a YouTube film clip of Van Morrison performing Behind The Ritual.
CD Review
Keep It Simple, Van Morrison, Exile Records, 2008
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Keep It Simple, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony.No way, no how. Too many hard life lessons "learned."
If you do not believe me then just listen to him ante up on School of Hard Knocks, a classic bluesy number; the thoughtful Song Of Home; the pathos of No Thing; the title song reflecting back from back in youthful rock times, Keep It Simple; and, something out of time, Behind The Ritual. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Van Morrison, barrelhouse blues, folk rock, outlaw country music, Townes Van Zandt, be-bop night, rock and roll,
Click on the headline to link to a YouTube film clip of Van Morrison performing Tupelo Honey. A greatest hit, indeed.
CD Review
The Best Of Van Morrison: Volume Three, two CD set, Van Morrison, various artist, Exile Productions, 2007
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how.
If you do not believe me then just listen to him ante up on Gloria , a classic bluesy number with legendary bluesman John Lee Hooker; the thoughtful Centerpiece Stone with Georgie Fame and the Flames;the pathos of That’s Life;The Healing Game; and, something out of time, out of youthful rock timeTupelo Honey with bluesman Bobby Bland. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. And as loners, not with legendary company. But fine, fine indeed.
Click on the headline to link to a YouTube film clip of Van Morrison performing In The Back Room.
CD Review
Brown Eyed Handsome Man , Van Morrison, Bono Records, 2000
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But this ain't no one-trick pony. No way, no how not with that deep musical background.
If you do not believe me then just listen to him ante up on He Ain’t Give You None, a classic bluesy number; the thoughtful Beside You; the pathos of Send Your Mind; the title song from back in youthful rock timesBrown Eyed Handsome Man; and, something out of time,The Back Room. The Belfast Cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Click on the headline to link to a YouTube film clip of Van Morrison performing The Beauty Of Days Gone By.
CD Review
Down The Road, Van Morrison, Exile Records, 2002
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Down The Road, and another “outlaw” country music man, the Belfast Cowboy, Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast Cowboy. But he ain't no one-trick pony. No way, no how, just too many lessons "learned."
If you do not believe me then just listen to him ante up on Steal My Heart Away, a classic bluesy number; the thoughtful The Beauty Of Days Gone By; the pathos of Chopping Wood; the title song reflecting back on youthful rock timesDown The Road; and, something out of time,Fast Train. The Belfast cowboy, indeed, although I always thought cowboys worn their emotions down deep, not on their blues high white note sleeves. But I guess they do.
Happy Birthday Townes -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
----------------------------------------------------------
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 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.
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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...
Click on the headline to link to a YouTube film clip of Van Morrison performing his pre-Belfast Cowboy Into The Mystic.
CD Review
Pay The Devil, Van Morrison, Exile Productions, 2006
Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and is funny mix of blues, folk rock, rock folk, and just downright outlaw country.
And that brings us to the album under review, Pay The Devil, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. And hence the Belfast cowboy.
If you do not believe me then just listen to him ante up on There Stands The Glass, a classic honky-tonk midnight sorrows tune; the Williams’ classic Your Cheatin’ Heart; the pathos of Back Street Affair; the title song Pay The Devil; and, something out of about 1952, and the number one example of his cowboyishness (whee!),Till I Gain Control Again. The Belfast cowboy, indeed, although I always thought that was in the North.
Click on the headline to link to a YouTube film clip of Townes Van Zandt performing If I Needed You.
CD Review
Crazy Hearts: Original Motion Picture Soundtrack, Jeff Bridges and various artists, New West 2010
I have already give kudos to Jeff Bridges for his Oscar-winning performance in Crazy Hearts elsewhere so we need not go into that one in detail. That one was easy. See it. Why? Well, if for no other reason that Jeff Bridges finally won an Academy Award for his lead role as Bad Blake in it, a role that he has been waiting for about forty years to cash in on. Every since I first saw Bridges as Duane Jackson in the screen version of Larry McMurtry’s great novel of the New West, The Last Picture Show, I have known that he had the righteous, good-hearted, hard-drinking, devil-take-the-hinter post, sexually energetic and troubled “old geezer” that he personifies in the Blake role in him. He has done other fine performances but there is something just a little extra that he brings to that good-ole-boy role, young or old.
Frankly Bridges, through the character of Bad Blake, an alcoholic, back roads traveling, down on his luck, hard living country singer, an “outlaw” singer for sure, carries the film. The story line, in film and in real life (think Kris Kristofferson, Waylon Jennings, Willie Nelson, and half of male Nashville), has been done to death. So Bridges’ performance and the soundtrack are the important in redeeming the production. And part of that excellent performance by Bridges was his actually singing some of the material. That in itself was refreshing (and brave), somewhat akin to actors doing their own stunts.
Of course having legendary music man T-Bone Burnett on board never hurts. The CD is a mix of Bridges film songs (including variations on some of the songs, as was done in the film, including by Ryan Bingham on I Don't Know0 and other country and blues artists. Outstanding other songs, as always, are done by Lightnin’ Hopkins (Sam Phillips) and Townes Van Zandt (an outlaw singer/songwriter who could have been put of that list above, as well). If you are in an “outlaw” country mood get this. Hey, watch the film too, okay.
