I love Townes Van Zandt too. I first learned about him when Neil Halstead of Mojave 3 covered one of his songs(at Borders downtown of all places). My favorite of his records is High, Low & Inbetween. It has "Poncho and Lefty" on it, which is deemed classic by many critics. Many critics and fans also say he's the best songwriter ever, even better that Dylan. That's a pretty bold statement!

There's a pretty great quote from Steve Earle on the cover of the DVD that is (paraphrased) "Townes is the best songwriter ever and I'll stand on Bob Dylan's coffee table and say that."

Townes may well be better pound for pound (Dylan diluted his legacy with his noxious '80s output).

The two albums you guys mentioned are the only ones I own. What else should I get?

Like so many of the Texas-born singer/songwriters that have followed in Townes' footsteps, I readily acknowledge him as an expert songcrafter, and consider him a major influence in my own songwriting. However, I find a lot of Townes' songs esoteric and unapproachable.

People often use the word "genius" when referring to art and artists they don't fully understand. They assume that such art must exist on a higher plane, and such artists are more enlightened than they. Perhaps it's easier to proclaim someone else's "genius" than to admit any supposed personal deficiencies.

I'm torn. I don't deny that Townes had a incredible gift; but is it more difficult to consistently produce art that "most everyone can relate to most of the time?" If that's an accurate measure of an artist's work, that may help explain why Townes' music hasn't enjoyed greater commercial success (AAHH! - those two dreaded words!).

I'm well aware how the country music industry and country radio has historically failed to embrace artists such as Townes, and it truly is a shame that he and so many of his talented cohorts have been routinely denied exposure to a mass audience. But it's that perpetual outsider, cult-hero status that serves to perpetuate the genius characterization.

It's not that Townes didn't succeed in a profound way in creating songs that convey universal themes that touch us all. It's not that he didn't employ both lyric and melody with pinpoint precision - which certainly evoke comparisions to Dylan. I think "If I Needed You" is one of the greatest-ever examples of songwriting in any genre. However, when considering Townes' entire catalog, like Dylan, I think there are many examples which fail to connect emotionally, intellectually, and musically.

Perhaps Townes and his music do exist on a higher plane than the rest of us (or me anyway). Perhaps his ability to make glimpses of that plane momentarily visible and accessible to some of us does make him a genius.

I can't deny that notion, but I also can't fully accept it.

Two quick side notes:

1. "Heartworn Highways" is an excellent documentary available on DVD that uses some of the same "Be Here To Love Me" footage, but is a broader look at the "neo-traditionalist" movement in country music which occurred in Nashville and Austin in the mid-70's. It includes priceless footage of artists such as Guy Clark, Steve Earle, Rodney Crowell, and the vastly underrated Larry Jon Wilson. This DVD is a "must see."

2. If you are only familiar with Townes' original studio albums, and the numerous greatest hits and repackaged releases, I urge you to listen to his live stuff - particularly "Live at the Old Quarter, Houston Texas." It's my opinion that the studio production distracts greatly from the raw, organic qualities that make both Townes and his music so unique.

IP.S. I was very excited to read the original post, and I look forward to reading more comments!

Sorry I forgot one very interesting nugget that Merle Haggard dropped recently that is relevant to my previous, rather long-winded post.

The following was taken from a recent interview Merle did with cmt.com:

1. In the song "Pancho and Lefty," what is your interpretation of the lyric "the dust that Pancho bit down south ended up in Lefty's mouth"?

You know, I don't really know what that meant. A lot of that song I don't know what it meant. It sounded like the overall message was that Pancho Villa and the federale Lefty were actually friends and the truth about the matter was never known. That's the basic message I think.

I second the "Live at the Old Quarter" record. I heard this around the same time as "Delta Momma Blues" and he definitely captures that extra something on stage. Plus I love how the album opens with a the MC telling everyone that the pool tables are upstairs or something like that... The atmosphere totally makes this record as well.

I do love TVZ for his grittiness, and I really don't believe in genius often. Genius isn't really something you are, it's something someone else calls you. So, for that, I like TVZ for his unique rawness, who cares who came before or after. But I do find his songwriting inspiring.

I'll definitely check that movie out.

Townes' song "Nothin'" stands as one of my favorites. The track I listen to is recorded outside the studio. Lucinda Williams does a cover that preserves the character of the song.

A post after my own heart. I love that song.

Robert Plant and Allison Krauss have a very interesting take on "Nothin," from their new "Raising Sand," CD.

I like Snowin' on Raton, For the Sake of the Song, Come Tomorrow, and Katie Belle Blue. His voice got more interesting as he aged.

My favorite quote is his reply to a fan who complained that all his songs were sad songs. "They're not all said," Townes replied. "Some of them are utterly hopeless."

Some great TVZ songs are "Snow Don't Fall"; "Highway Kind"; "You Are Not Needed Now"; "Lungs" and of course "If I Needed You". Live Townes is great but I like the studio stuff as well even if it tends to be production heavy. {What's wrong with a little string section?:)} I might add the live albums feature some of Townes's story telling/jokes that are funny. I think the above documentary is fascinating as well. Great insight into a quirky personality and wonderful song writer.