Townes Review

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Townes ReviewDisclaimer: I am a HUGE fan of Earle and TVZ. I have to admit I was a little skeptical of an entire tribute album to Townes; it's almost become an Americana prerequisite to cover a TVZ song in the name of "not forgetting," which Townes would freakin hate. But if anyone SHOULD be anointed to record a tribute album to Townes, it feels right to be Earle. If you have seen the 1975 film, "Heartworn Highways," which has a Christmas scene of Guy Clark, TVZ and Earle when he was about 20, drop-dead gorgeous, a guitar and songwriting prodigy, you can understand that the mentoring went both ways.
All of the "bad" songs on this album are the ones that add "too much" to the songs; the beauty of Townes' writing is its focus on guitar melody and spare vocals, the poetry, the stories. Overproduction and over-instrumentation kill a few of the songs, with the exception of "Loretta," which rocks, and Earle's bluegrass interpretations of songs, which allow instruments to pick up the richness of melodies without interfering with the vocals.
Earle doesn't do a very good job with Townes' story songs. The cd definitely gets better as it goes along. Best tracks: "Colorado Girl," "Loretta," "Brand New Companion," "Rake," "Delta Momma Blues," "Don't Take it Too Bad," "Quicksilver Dreams," and "To Live Is To Fly."
1. Pancho and Lefty: the best thing about Earle's version is that it is down-tempo, the same tempo Townes played it when he was strung out before he died in 97 but picked a little stronger and simpler by Earle. Earle's vocals are expressive but interfere with the sparseness of the story; the song is so over-covered that this version doesn't add much to Earle's repertoire or translate the flat, dusty vocal that made the original believable.
2. White Freightliner Blues. This is an uptempo, bluegrass version, another over-covered song, not too much new here that blew me away, the vocals are a little muddled.
3. Colorado Girl. One of the better songs on the cd. Great picking, great vocals. Best cover I've ever heard of this song--it fits Earle like a glove.
4. Where I Lead Me. One of the most rearranged and overproduced songs on the album--I generally don't like Earle's use of drum mixers--it overpowers the vocals and guitar. Doesn't hold a candle to Eric Taylor's version.
5. Lungs. Another rearranged and overproduced song--the intro guitar lead is great but like Where I Lead Me, the drums are droning and make the song boring except for the guitar solos.
6. No Place to Fall. Some nice instrumentation here, but it's too busy--the lyrics of this sweet love song don't shine through at all.
7. Loretta. This is one of my favorite Townes' songs, and this cover rocks! It has a driving quarter-note drum/bass like Fleetwood Mac's "Tusk," with Allison Moorer and Justin doing background vocals. John Prine does a great cover of this song, but this song is one of the best on the cd.
8. Brand New Companion. Very bluesy version. Awesome. You gotta remember that Allison Moorer is his brand new companion, so he had to knock this out of the park.
9. Rake. Earle's picking and vocals at their finest. Townes=channeled. This should have been the first song on the cd.
10. Delta Momma Blues. Upbeat bluegrass interpretation with plunky banjo, mandola and mandolin, great cover.
11. Marie. Willie Nelson's cover of this song is pretty hard to beat. The guitar picking is great, but the vocals are slurred, hard to follow, and the story gets lost in a heavy bass/snare beat. Great song, baaad cover, imo.
12. Don't Take it Too Bad. Another bluegrass interpretation--fantastic.
13. (Quicksilver Dreams of) Maria. Beautiful cover--great picking and singing.
14. To Live Is To Fly. "Think of all the poetry and the picking down the line." Allison Moorer comes in on harmony vocal, Steve's picking and phrasing are perfect, great cover and way to end the tribute--tearjerker.Townes Overview

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I'll Never Get Out of This World Alive Review

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I'll Never Get Out of This World Alive ReviewIn the half-decade since Steve Earle moved from the Guitar Town to Greenwich Village, he has released three albums: one of original material, one composed entirely of covers of Townes Van Zandt songs (Earle's mentor, friend, and as described by Earle, "the best songwriter in the whole world"), and now this, his third NYC-era album and second of original material. For those of us who have followed Earle's albums, we know that with his move to Greenwich Village came an obvious change in the sound of Earle's music. On his 2007 release, "Washington Square Serenade (DIG)," (WSS) not only did he seemingly abandon (for the most part) much of the hard rock sound that had permeated many of his previous albums for a softer, more multicultural sound with occasional hip hop accents, but he also began to record using Pro Tools. The effects of the digital recordings were clear in the loops and beats throughout the album, and frankly, while I found the songs to be strong for the most part, I found the Pro Tools influence to be off-putting and disconcerting at times. Earle's 2009 release, "Townes," found him toning back the digital effects; while still present on certain songs, the album felt much more organic, helped in part by the inclusion in the album's deluxe edition of a second disc including Steve's bare guitar/vocal tracks. Now in 2011 Steve Earle has released "I'll Never Get Out of This World Alive," (INGOOTWA) an album of original songs that does away with the digital effects that were in his last two albums for once again a more natural, organic sound that resembles his pre-Pro Tools albums.
Country music fans may recognize the title of the album as the final single released in Hank Williams' lifetime, and Earle fans will know that he has a particular fondness for Williams, once proclaiming that even Hank Williams couldn't get played on country music stations nowadays (and that Earle's upcoming novel of the same name partially revolves around Hank Williams' ghost). Given that fondness and the album's title, it's no real surprise that INGOOTWA is probably the most country-tinged album that Earle has released in years. Keep in mind, however, that this is Earle's country, not necessarily Nashville hit radio country. Thus the songs have more of a traditional country sound, have more subdued and contemplative lyrics (not about big green tractors or honky tonk badonkadonks), and, just like Hank Williams' songs(!), aren't incredibly likely to be found in frequent rotation on your favorite country station. The songs openly explore themes of life, death, and struggle, from the multigenerational autobiography (not really) of "Gulf of Mexico" to the tale of an outlaw robbing, killing, and dying all for the love of his "Molly-O" to the religious notes of "God is God" to the harrowing "Meet Me in the Alleyway" (take a guess) to the lamentations of "Lonely are the Free" and the ode to New Orleans "This City," featured in season 1 of HBO's fantastic series Treme (where Earle also has a recurring role as a local musician) and nominated for both a Grammy and an Emmy. Earle's penchant for telling great stories pervades INGOOTWA like the stories that Williams himself used to tell in his songs. The styles of INGOOTWA's songs vary widely, from fiddle-inflected country to Celtic jaunt to backalley blues to Earle's characteristic finger-picked ballads to the horn-accented, acoustic-based album closer. Make no mistake, though; at the core of each song is a country sound, as this album again puts itself up with "Guitar Town," "Train A Comin'," and "The Mountain" as one of Earle's purest country albums.
However, because it is only Earle's second album of original songs since moving to NYC, and because there was such a dramatic shift in his music after he made that move, INGOOTWA bears some comparison to the "Washington Square Serenade" release. Despite its status (in my opinion) as being one of the most country-influenced albums in Earle's catalogue, the songs on INGOOTWA do sound familiar at times. "Molly-O" bears some resemblance to "Oxycontin Blues," while the harmonica punctuations of "Meet Me in the Alleyway" call to mind those of "Red is the Color" and the mood and sound of "Every Part of Me" sound influenced by "Come Home to Me." The quality of the songs I'd say is about on par between the two albums, although there is no song on INGOOTWA as ridiculously catchy as "Steve's Hammer (for Pete)" (the closest would be "Gulf of Mexico") and no song as unbelievably beautiful as "Days Aren't Long Enough." The closest, I think, is "Lonely are the Free," which isn't a good comparison because it's not a duet. The duet on the album between Earle and his wife Allison Moorer, "Heaven or Hell," is good, but pales next to Days... if you ask me. "Little Emperor" is, however, a great foot stomper all on its own. Some of these songs have been heard elsewhere as well: "This City" (aforementioned), "God is God" and "I am a Wanderer" (both recorded already by Joan Baez, although written by Earle; the latter is another beautiful standout track), and "Lonely are the Free" (previously used in the film Leaves of Grass). The difference between the two albums, however, and this makes a big difference, is that as I mentioned INGOOTWA does not have an obvious digital sound to it. I don't find myself noticing drum loops and effects on INGOOTWA as I do on WSS, mainly because they aren't there, or if they are they aren't anywhere near as obvious. Instead the T. Bone Burnett-produced album feels like an organic album played by real musicians with minimal alterations, which will make an enormous difference to some people. And as I also said, there is a definite theme to the album. Whereas WSS sounded more like a collection of Steve Earle songs, INGOOTWA sounds more like a cohesive Steve Earle album, and both the album and the listener benefit because of that.
My overall verdict on the album is this: if you buy anything Steve Earle puts out, you're going to buy this anyway, so buy it and enjoy it. If you liked his sound on WSS, the songs themselves are written in many ways in a similar manner; they just don't have a Pro Tools influence way up in front. Contrarily, if you hated the sound of WSS, give this a try, because the Pro Tools sound of WSS is gone on this release. Is this album as good as Earle's pre-NYC releases? In my opinion it's not, at least as concerns "Transcendental Blues" and earlier. However, the man has been writing and playing his own songs since the `70s, and to still put out an album this strong is an impressive feat indeed. My opinion? Buy this album. Steve Earle is an artist who still puts a great deal of passion into his songwriting and his craft, writing and recording what he wants, not what he thinks people want to hear from him or what people ask him to record. That takes guts, the same kinds that are on display in "I'll Never Get Out of This World Alive."I'll Never Get Out of This World Alive Overview

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El Corazon Review

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El Corazon ReviewFor what it's worth, I think this is one of the greatest CDs ever made. I'm not a Steve Earle scholar, in fact I only own a few of his albums, but this one easily fits into my top ten ever.
There's not a clunker here. Ft. Worth Blues is beautiful, Telephone Road will make you want to go have a beer with friends, and NYC is one of most chill bump-inducing songs I've ever heard. This is the perfect blend of rock, country, and folk.
I'll put it this way: I've got a friend whose favorite artist is Prince. Another's is Rage Against the Machine, and another basically listens to pop music. They all agree that this is one of the best they've ever heard.
This is "real" music by a "real" person, and in my opinion, it doesn't get much better.El Corazon OverviewNo Description AvailableNo Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: EL CORAZONStreet Release Date: 10/07/1997

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Steve Earle - Live From Austin, TX (2008) Review

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Steve Earle - Live From Austin, TX (2008) ReviewAll the reviews here seem to be dealing with the 2004 Austin City Limits DVD that was shot back in the days of Guitar Town. However, this product, according to the picture above, is of another show shot in 2000 (take a look at the artwork). I'm a fan of Steve and all that, but how all these reviews got tied in with a brand new product that hasn't been released yet, I don't know. I'm sure the performance will be great, most of his are, but I hate to see people get confused by early reviews, especially when they aren't even about the actual product that is being advertised.Steve Earle - Live From Austin, TX (2008) OverviewWhen Steve Earle stepped onto the Austin City Limits stage on November 12, 2000, it had been 14 years since his first appearance in 1986. In between it must ve seemed like he had lived several lifetimes. A bout with drug addiction sidetracked him in the early 90 s, but by 1994 he was recovered and more ornery and prolific than ever. In fact, in the years since, he released five albums, including his latest at the time of this recording, Transcendental Blues. Of the record, Rolling Stone wrote, These songs weave threads that bind Ireland and the American south, rockabilly and the Beatles, folk music and muscular rock and roll.

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Train a Comin Review

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Train a Comin ReviewSteve Earl opens the album by declaring: "This here's the 'Hometown Blues' with apologies to Thomas Wolfe and Doc Watson," and then presents the listener with the warmest and perhaps most personal album of this country renegade's career. It had been four years since his last studio album, 1991's The Hard Way, and almost a decade since his 1986 debut Guitar Town. For this comeback effort, Earle strips things down to the roots. The band consists of a Who's Who of country, folk and bluegrass musicians: Norman Blake (guitar, Dobro, fiddle, mandolin and Hawaiian guitar), Peter Rowan (mandolin, mandola, gut string guitar and vocals), Roy Husky (accoustic bass) and Emmylou Harris (vocals). The album is a mixture of originals like "Mercenary Song" and "Ben McCulloch," and covers like Townes Van Zandt's "Tecumseh Valley" and a wonderful version of the Beatles' "I'm Looking Through You." If you enjoyed Earle's 1999 collaberation with the Del McCoury Band on The Mountain, you'll love Train a Comin'. In 1986 three artists released their debuts: Dwight Yoakam, Randy Travis and Steve Earle. I thought they would save country music. If they haven't succeeded, they at least have helped preserve its integrity. HIGHLY RECOMMENDEDTrain a Comin OverviewWarner Brothers has re-released this 1995 acoustic gem by Steve Earle, originally released on the Winter Harvest label. Included are covers of "Tecumseh Valley" and the Beatles's "I'm Looking Through You" as well as such Earle classics as "Sometimes SheForgets."No Track Information AvailableMedia Type: CDArtist: EARLE,STEVETitle: TRAIN A COMIN'Street Release Date: 01/28/1997

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Guitar Town (Remastered)(Bonus Track) Review

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Guitar Town (Remastered)(Bonus Track) ReviewI bought this album on vinyl when it was first released in 1986--the same year that Dwight Yoakam debuted with Guitars, Cadilacs, Etc., Etc. While both artists used different approaches (Earle filtered his music through rock, while Yoakam leaned more toward honky-tonk and the Bakersfield sound), both artists brought an honesty and integrity to country music that had been missing from mainstream country. All tracks were written or co-written by Earle with the exception of the bonus track, a live version of Bruce Springsteen's "State Trooper." [This bonus track was originally released in 1986 on an EP and is also available on the 2-CD anthology Ain't Ever Satisifed.] Earle has put out a string of excellent albums over the years, but his debut is arguably his strongest. He's never fit in with the hat acts of the past two decades--Earle is too much of a rebel for that--but as he sings on the title track: "Hey, pretty baby are you ready for me/yeah, it's your good rockin' daddy down from Tennessee." Country radio may not have been ready, but they sure needed him. HIGHLY RECOMMENDEDGuitar Town (Remastered)(Bonus Track) OverviewEarle's contract with MCA quickly paid dividends as his 1986 debut climbed the pop charts and Guitar Town; Goodbye's All We've Got Left; Someday , and Hillbilly Highway all hit the country charts. A roots-rock triumph, plus a live bonus cut!

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