It's a brilliant piece of writing, Richard. I enjoyed it very much. Perhaps - just perhaps - I was the friend (mentioned above) in your room listening to Flyin' Shoes over and over. I remember wonderful afternoons sitting around in your cluttered (books and records) room on St. Leonard's Road listening to a wealth of music (with an eye on the clock waiting for the pubs to reopen!). Of course, it was you who introduced me to Townes (and Guy too), I hope I didn't scratch your copy of Live at the Old Quarter too badly - played repeatedly on my rickety old stereo. Of live TVZ albums, I listen a lot to 'Rain on a Conga Drum - Live in Berlin' - you taped it for me when it was first released (circa 92?) when I was at Uni. (The tapes you sent me were a lifeline back then.) It has become one of my favourite albums . . . ever. Townes sounds happy, content, (one reason I think why I love the album so) and he plays a storming set. He starts off with Mudd & Gold and plays it (almost) flawlessly so you know it's gonna be a good night. It is incredible the depth of his songwriting when you glance at the eighteen tracks on the record - the second side alone: No Place to Fall, To Live is to Fly, Lungs, Nothin', Tecumseh - one after the other. Not many songwriters can boast of such riches. And I haven't even mentioned a couple other songs on side 2 that measure up to the best of them or the treasures to be found on the first side, If I Needed You, Dollar Bill Blues . . . and a certain Pancho & Lefty. Wow-wee! (I am no longer much of a fan of Steve Earle but I would also get on Dylan's coffee table and claim, at least, that Townes was equal in stature to Mr. D.)
Anyway, Richard, it was nice coming across this piece. Great stuff. I want to also thank you, in closing, of the comp you made for me many, many years ago of The Dark & Cold Dog Soup (by Guy) housed in its own homemade sleeve, created by you. I still have it. A lovely thing.
All the best,
Martin
P.S. I found out recently that Townes wrote both 'Lungs' and 'Nothin'' after reading and being inspired by Nikos Kazantzakis. And there I was thinking my respect for TVZ could not climb any higher!
Wow, great to hear from you, Martin. Yes, of course it was you I was remembering on those early listens to Flyin' Shoes. Playing that record over and over in that room, around about the time, I think, when I'd decided that putting my speakers inside some old tea chests would somehow enhance the sound. I guess the production on that record was good enough to work over whatever obstacles I put in its way in terms of tech. I still have the LP of Old Quarter that I brought back from Rhythm Records in Camden. It's crackly as hell, but that will be as much from the number of times I played it (on not very good gear) as anything. I've also had a CD reissue of that album, but tend to go back to the record because it is a magical object for me.
I completely agree with what you say about those live albums. I hadn't played them for a while until working on this piece, but I was so happy to rediscover them.
Thanks for reminding me about that Guy Clark comp; that brings back some memories.
You got me in to so much music too. Some of the things I've already written about on this Substack are a direct result of that, as will be some of the musicians I'm hoping to write about here in the future.
I'm so happy this piece found you and I hope to stay in touch here and beyond this space.
Terrific to hear from you, and regarding your final comment I do hope so, please send me your personal email to mine when you have a moment. Perhaps you, me and Chris can get together back in NA at some point. I work overseas so am only back Jan/Feb and July/Aug. But anyway we can discuss it. Not sure how or why we lost contact for many years. Probably because of my peripatetic lifestyle and general indolence!
Some sad news - just heard that Kris Kristofferson has died. I was going to write at greater length about some musical memories involving the two of us, down in Falmouth, on the coach to Alicante, seeing Guy Clark and Robert Earle Keen on Buckland estate, in Newton Abbot! These will have to wait. This morning I am going to revisit Silver Tongued Devil & Jesus Was a Capricorn, two of my favourite KK albums.
Yes to all the above. I'll also be diverting some of today's plans for a Kristofferson visit. Just posted something to Notes here on Substack about him, but that's just the start. Another musiciian, like Guy and like Townes (until this year at least) who I've never got round to writing about properly despite (or perhaps because of) the immense influence they had on me.
It's 5PM here where I am, have been on a KK fix all day (bank holiday here), don't have the complete back cat (only a fraction of it), so no deep dive, but have played Border Lord a few times over and forgot what a wonderful album it was. That makes four stone cold classics at least.
Also, reading a few obits it seems that Heaven's Gate needs a reappraisal - the original Michael Cimino version has been given a (re)release (after its mauling in the editing suite) and has won high acclaim.
Really enjoyed this. I was also confused for a bit with the part about the Clarksville music scene. I had a hard time picturing the town of Clarksville, Texas having any kind of scene. Once I realized it was a neighborhood in Austin, it made much more sense.
If you’ve never seen it, there’s a great video of Lyle Lovett doing White Freight Liner Blues on Letterman.
Thanks for reading and commenting. I'll make a note to clarify the Clarksville reference. That Lovett clip is great and sent me down a good YouTube rabbithole!
The idea that once the artist releases their work to the world it takes on new life that each person brings to it, is fascinating. As curious as I am about the story behind a work of art, I also recognize that what I bring to it and what it means to me is just as important. Some argue it's even more important as the work becomes organic and takes on a life of its own.
I really enjoyed reading this essay, Richard! You dive deep and explore many themes and ideas within the context of the categories you feel they reside. You always remain true to the central focus - what the songs mean, to you (I too have often felt many of Townes' songs were existential and therapeutic).
PS: I LOVE this Frost quote “Take care of the sound and the sense will take care of itself.”
Thanks, Michael, I'm so glad it resonated. Yes, the journeys that songs take, and the sense that we make from those evolving sounds, mean there's always something more to say about them I guess.
That is some brilliant writing Richard, well done. Although I've heard the TVZ songs you chose to share in this piece, I'm now interested (in some cases) in giving them another listen while considering the various "song categories" you offered in your analysis.
My struggle to fully appreciate the art of TVZ is irrationally (and unfortunately) tied up in a part of his "fatalism" that showed up occasionally in his lyrics but also in his life outlook. As you know he famously predicted his death at a young age 52 many years before the event, and his "rush to leave this world" thing never appealed to me, during his life or after. Similarly, "Heartworn Highways" is another good litmus test in the sense that it can draw one into his unique world, or repel one from it. For me, seeing the very young Steve Earle trying -- way to hard! -- to keep up his drinking bonafides with his idols, so intent on being a part of their dissolution, was sad and not inspiring. It's hard for me to understand my own negative reactions to that film, since it featured so many songwriters and performers I have truly loved over time (including Guy and Susanna Clark, Rodney Crowell, Steve Young), and I think I'd listen more now to TVZ had I never invested the time in that documentary.
All of which is likely misdirected and beside the point. A number of the singer-songwriters (and instrumentalists for that matter) whose work has most moved me are or were, by all available accounts, compromised or actually terrible people in their world outlook, expressed opinions, and so forth. As a listener I have always had trouble separating the art from my understanding of the artist, to my own detriment. TVZ was a truly unique artist in many ways, and this piece of your writing will encourage me yet again to kindle a greater appreciation for his art, something I try to stay open to, even after many years already invested in that effort.
Thanks for this detailed response. I recognise a lot of what you're saying here. My original plan for my 'TVZ week' was to publish about four posts (I know, I know ... given the length of this one!) and the fourth one, which exists in very draft form on my PC, was about perhaps wanting to maintain an aspect of unknowability about these artists. Sample: 'There’s another aspect to this unknowability. It’s that, actually, perhaps we don’t always want to know the gory details. We don’t want to know how the sausage gets made. By which I mean: when I did finally get round to reading the biographies of Townes Van Zandt that had sat almost untouched for years on my shelf, I didn’t always like what I found. I’d previously had similar experiences reading about Guy Clark and Steve Earle, two running buddies of Townes whose music I’ve loved and listened to for decades'.
On balance, I am glad I read the bios (and the running mates' books, like Harold Eggers' My Years with Townes Van Zandt, Richard Dobson's The Gulf Coast Boys and Mickey White's book too) but I got so much more from relistening to the songs and trying to get a few responses to them down on paper. I, too, have found it difficult to separate some artists from their art, but I think in Townes' case, these songs are embedded in me somehow and will always be with me one way or another.
It's a brilliant piece of writing, Richard. I enjoyed it very much. Perhaps - just perhaps - I was the friend (mentioned above) in your room listening to Flyin' Shoes over and over. I remember wonderful afternoons sitting around in your cluttered (books and records) room on St. Leonard's Road listening to a wealth of music (with an eye on the clock waiting for the pubs to reopen!). Of course, it was you who introduced me to Townes (and Guy too), I hope I didn't scratch your copy of Live at the Old Quarter too badly - played repeatedly on my rickety old stereo. Of live TVZ albums, I listen a lot to 'Rain on a Conga Drum - Live in Berlin' - you taped it for me when it was first released (circa 92?) when I was at Uni. (The tapes you sent me were a lifeline back then.) It has become one of my favourite albums . . . ever. Townes sounds happy, content, (one reason I think why I love the album so) and he plays a storming set. He starts off with Mudd & Gold and plays it (almost) flawlessly so you know it's gonna be a good night. It is incredible the depth of his songwriting when you glance at the eighteen tracks on the record - the second side alone: No Place to Fall, To Live is to Fly, Lungs, Nothin', Tecumseh - one after the other. Not many songwriters can boast of such riches. And I haven't even mentioned a couple other songs on side 2 that measure up to the best of them or the treasures to be found on the first side, If I Needed You, Dollar Bill Blues . . . and a certain Pancho & Lefty. Wow-wee! (I am no longer much of a fan of Steve Earle but I would also get on Dylan's coffee table and claim, at least, that Townes was equal in stature to Mr. D.)
Anyway, Richard, it was nice coming across this piece. Great stuff. I want to also thank you, in closing, of the comp you made for me many, many years ago of The Dark & Cold Dog Soup (by Guy) housed in its own homemade sleeve, created by you. I still have it. A lovely thing.
All the best,
Martin
P.S. I found out recently that Townes wrote both 'Lungs' and 'Nothin'' after reading and being inspired by Nikos Kazantzakis. And there I was thinking my respect for TVZ could not climb any higher!
Wow, great to hear from you, Martin. Yes, of course it was you I was remembering on those early listens to Flyin' Shoes. Playing that record over and over in that room, around about the time, I think, when I'd decided that putting my speakers inside some old tea chests would somehow enhance the sound. I guess the production on that record was good enough to work over whatever obstacles I put in its way in terms of tech. I still have the LP of Old Quarter that I brought back from Rhythm Records in Camden. It's crackly as hell, but that will be as much from the number of times I played it (on not very good gear) as anything. I've also had a CD reissue of that album, but tend to go back to the record because it is a magical object for me.
I completely agree with what you say about those live albums. I hadn't played them for a while until working on this piece, but I was so happy to rediscover them.
Thanks for reminding me about that Guy Clark comp; that brings back some memories.
You got me in to so much music too. Some of the things I've already written about on this Substack are a direct result of that, as will be some of the musicians I'm hoping to write about here in the future.
I'm so happy this piece found you and I hope to stay in touch here and beyond this space.
Terrific to hear from you, and regarding your final comment I do hope so, please send me your personal email to mine when you have a moment. Perhaps you, me and Chris can get together back in NA at some point. I work overseas so am only back Jan/Feb and July/Aug. But anyway we can discuss it. Not sure how or why we lost contact for many years. Probably because of my peripatetic lifestyle and general indolence!
Some sad news - just heard that Kris Kristofferson has died. I was going to write at greater length about some musical memories involving the two of us, down in Falmouth, on the coach to Alicante, seeing Guy Clark and Robert Earle Keen on Buckland estate, in Newton Abbot! These will have to wait. This morning I am going to revisit Silver Tongued Devil & Jesus Was a Capricorn, two of my favourite KK albums.
Best.
Martin
Yes to all the above. I'll also be diverting some of today's plans for a Kristofferson visit. Just posted something to Notes here on Substack about him, but that's just the start. Another musiciian, like Guy and like Townes (until this year at least) who I've never got round to writing about properly despite (or perhaps because of) the immense influence they had on me.
It's 5PM here where I am, have been on a KK fix all day (bank holiday here), don't have the complete back cat (only a fraction of it), so no deep dive, but have played Border Lord a few times over and forgot what a wonderful album it was. That makes four stone cold classics at least.
Also, reading a few obits it seems that Heaven's Gate needs a reappraisal - the original Michael Cimino version has been given a (re)release (after its mauling in the editing suite) and has won high acclaim.
Will write later this week. Stay well.
Really enjoyed this. I was also confused for a bit with the part about the Clarksville music scene. I had a hard time picturing the town of Clarksville, Texas having any kind of scene. Once I realized it was a neighborhood in Austin, it made much more sense.
If you’ve never seen it, there’s a great video of Lyle Lovett doing White Freight Liner Blues on Letterman.
Thanks for reading and commenting. I'll make a note to clarify the Clarksville reference. That Lovett clip is great and sent me down a good YouTube rabbithole!
The idea that once the artist releases their work to the world it takes on new life that each person brings to it, is fascinating. As curious as I am about the story behind a work of art, I also recognize that what I bring to it and what it means to me is just as important. Some argue it's even more important as the work becomes organic and takes on a life of its own.
I really enjoyed reading this essay, Richard! You dive deep and explore many themes and ideas within the context of the categories you feel they reside. You always remain true to the central focus - what the songs mean, to you (I too have often felt many of Townes' songs were existential and therapeutic).
PS: I LOVE this Frost quote “Take care of the sound and the sense will take care of itself.”
Thanks, Michael, I'm so glad it resonated. Yes, the journeys that songs take, and the sense that we make from those evolving sounds, mean there's always something more to say about them I guess.
That is some brilliant writing Richard, well done. Although I've heard the TVZ songs you chose to share in this piece, I'm now interested (in some cases) in giving them another listen while considering the various "song categories" you offered in your analysis.
My struggle to fully appreciate the art of TVZ is irrationally (and unfortunately) tied up in a part of his "fatalism" that showed up occasionally in his lyrics but also in his life outlook. As you know he famously predicted his death at a young age 52 many years before the event, and his "rush to leave this world" thing never appealed to me, during his life or after. Similarly, "Heartworn Highways" is another good litmus test in the sense that it can draw one into his unique world, or repel one from it. For me, seeing the very young Steve Earle trying -- way to hard! -- to keep up his drinking bonafides with his idols, so intent on being a part of their dissolution, was sad and not inspiring. It's hard for me to understand my own negative reactions to that film, since it featured so many songwriters and performers I have truly loved over time (including Guy and Susanna Clark, Rodney Crowell, Steve Young), and I think I'd listen more now to TVZ had I never invested the time in that documentary.
All of which is likely misdirected and beside the point. A number of the singer-songwriters (and instrumentalists for that matter) whose work has most moved me are or were, by all available accounts, compromised or actually terrible people in their world outlook, expressed opinions, and so forth. As a listener I have always had trouble separating the art from my understanding of the artist, to my own detriment. TVZ was a truly unique artist in many ways, and this piece of your writing will encourage me yet again to kindle a greater appreciation for his art, something I try to stay open to, even after many years already invested in that effort.
Thanks for this detailed response. I recognise a lot of what you're saying here. My original plan for my 'TVZ week' was to publish about four posts (I know, I know ... given the length of this one!) and the fourth one, which exists in very draft form on my PC, was about perhaps wanting to maintain an aspect of unknowability about these artists. Sample: 'There’s another aspect to this unknowability. It’s that, actually, perhaps we don’t always want to know the gory details. We don’t want to know how the sausage gets made. By which I mean: when I did finally get round to reading the biographies of Townes Van Zandt that had sat almost untouched for years on my shelf, I didn’t always like what I found. I’d previously had similar experiences reading about Guy Clark and Steve Earle, two running buddies of Townes whose music I’ve loved and listened to for decades'.
On balance, I am glad I read the bios (and the running mates' books, like Harold Eggers' My Years with Townes Van Zandt, Richard Dobson's The Gulf Coast Boys and Mickey White's book too) but I got so much more from relistening to the songs and trying to get a few responses to them down on paper. I, too, have found it difficult to separate some artists from their art, but I think in Townes' case, these songs are embedded in me somehow and will always be with me one way or another.