Townes Van Zandt

I've been listening to this new CD that mr. Whorton bequeathed upon my humble self (I only have two physical CDs in my car, as all of the rest of my music is Ipodded and Ibooked. I guess I need to buy an Itrip) But I think that 'Many a Fine Lady' is, perhaps, one of the best songs. Ever. It's like 'Sad Eyed Lady of the Lowlands' meets 'Tangled up in Blue' in a duskier, softer, more ethereal setting. More subtle, too. It's full of interesting inverted weighty syntax that sneaks up on you in this empty longing way. Townes' melodies and rhythms usually seem to linger just outside of what your folk-and-pop brain expects. Few realize the intricacies and meaning-creation that happens with reference to variations in Phrasing that meet and then undercut expectations in emotionally significant ways. It's what makes Dylan so great, and Townes does it too, but his is a less obvious departure from regular rhythm, and it's also in his Melodies as well in a way that Dylan's songs aren't. Even after listening to his songs for so long, I have a hard time remember, exactly, the melodies and lyrics. My brain always automatically tries to turn it into a more standardized timing and word-construction, so that my brain creates its own, simpler, steadier melodies and phrasings in my head, and when I try to sing along, the words I thought I knew are just slightly different.

A good example of this subtle inversion of syntax comes in the first lines of one of my favorite songs, 'Many a Fine Lady:'

There's many a fine lady that's laid down beside me
With their flesh made of velvet, and their eyes made of rain.
Some tried to hold me, to hurt me, to hide me.
Some turned away not to look back again.

Seems simple enough, but a line like 'Some turned away not to look back again' is constructed in a way that is new to both spoken speech and sung speech, but it Seems familiar upon first read/listen. I won't even get into the highly effective beautiful fuzzed melding of love-relationships (so reflective of the way we actually remember our lovers and would-be-lovers and wanted-lovers) created by 'their flesh made of velvet, and their eyes made of rain.' This is a perfect set up for the song's purpose of later melancholically remembering a particular melancholy lady who stood out from the rest.

Another such syntactically brilliant line comes near the end of the song, (after its weakest stanza that uses the word 'creature' inadvisably):

"no longer gypsy-like sadness unending". Yummy, eh?

But the best, best line of the song (perhaps of All Time) sneaks up on you in the middle. After a few beautiful metaphors, similes, and descriptions that are unnew in image but new in expression, Townes pops in this beauty.
I have shivered sublimely Every Time when hearing the following line (and I've listened to the song upwards of two dozen times, often back-to-back or within)

Our words like a mountain stood lonely and lofty
With her face like a daydream, and her hair like the shaul.
Worn by the mourner who steals away softly
From those who would have him mourn nothing at all.

I could go on and on about it, but doesn't it just make you want to lift your hands up to your head and breathe ecstatically some strange guttural sound??? It's like 'hydrogen jukebox,' but better.


Anyway kiddoes, I am quite tired. Had a hike that lasted into the wee hours of the morn a couple of days ago, and didn't get to sleep until (literally) 5 a.m. Still recovering from that, and still my feet are eternally cold. This was happening to me in Austin too, and over the summer in Colorado. Don't know what the dealie is, yo.

More about the crazy children later, but basic impressions were close to expectations, except the kids weren't as aggressive/intimidating as I was afraid of, and the days are much more regimented than summer-camp-life. It is jail for these dudes, after all.